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OCTOBER/NOVEMBER 2011

CEO Asem Tag Editor In Chief Jean Claude Van Damme Managerial Editor/Office Ninja ZULI Art Director/Suparwoman Bassna Hassan Marketing Manager/Venezuelan Wolverine Omar Amin Financial Manager The Monopoly Man IT Manager Stephen Jobs Distribution Extra Cheese Contributors Ade Bankole | Ahmed Samy | Jimmy Edgar | Luke Sullivan | Marie Girod | minus T | Mohamed Ashraf SikSik | Mohamed Salah | Mouwaffack Chourbagui | Nehal Khaled | Nurah Farahat | Ramzy B | Ryan De Haaff | Selma Fayek | Thea Price-Eckles | Wassim Matar | Yaz Vanselow | Youssef Altay Cover Credits Ryan De Haaff Printing Al Salam Printing Company Awesome HQ Borg Al Qanoneyeen, Corniche el Maadi Contact 012 237 2769

Maadi Ace Club | Alef Bookstore | Auntie Annie's | Auntie Louou Waffles | Burger Joint | Cafe Greco | Coffee Bean | Diwan Bookstore | Kiwi Restaurant | Lucille's | Quick | Villa 55 | Man'oucheh | Marriot Bakery | Massoud Super Market | Mori Sushi | TBS | Volume 1 Zamalek 69 | Alef Bookstore | Amici | Arabica | L'Aroma | L'Atelier | AUC bookstore | Blackstone Bistro | Cafe Du Paris | Cilantro | Coffee Bean | Crave | Deals Cafe | Distingo Music Store | Diwan Bookstore | Eurodeli | Flamenco Bar | Hassan Sabry Newsstand | Horreya Designs | KDS | Mex Cafe | Mezza Luna | Mobil Mart | Mori Sushi | Munch and Bagel | Munchies | Nola's Cupcakes | On the Way 24hr | Quick | Romanceia Bookstore | Siegfredo | Shorouk Bookstore | Tabasco | Thomas Pizza | Wel3a Cafe Mohandiseen Baraka Optics | Bebe | Bert's | C&CO | Calvin Klein | Caracass | Cedars | Cinnabon (Gam3et Dowal) | Coffee Bean | Converse | La pietra | Le Tabasco | Marriot Bakery | Mo's Cafe | Momento | Mori Sushi | Pasqua Cafe | Retro | Safari Cafe | Smoking House | Spectra | Tommy Hilfiger Nasr City Bikya City Stars Adidas Originals | Adidas Women | Casper & Gambini's | Coffeeshop Company | Diesel | Second Cup | Starbucks Heliopolis Beanos (Korba) | Cafe Pasucci | Cilantro (Korba, Marghani) | Deals | Fiji Cafe and Restaurant | Gloria Jean's Coffee (Sheraton) | Harris Cafe (Korba) | Makani (Marghani, El Baron) | Mo Cafe | Roma Pizza | Shatz (Almaza) | Sultana Ice Cream | Thomas Pizza (Marghani) | Waffle Point


CONTENTS

Polaroids by Andy Warhol

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F E AT U R E S

MUSIC

ART

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MUSINGS OF A CYNICAL FOREIGNER: PART DEUX A foreigner’s firsthand experience as a Cairo resident

ESSENTIALS

ARTIST OF THE MONTH Ryan De Haaff

020/ ECONOMICS Nehal Khaled discusses how different governments are dealing with recession

034/ FEATURED ARTIST Hudson Mohawke

035/ FEATURED LABEL !K7

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SWEDEN A French girl explores the differences between living as a foreigner in Sweden and Egypt

MUSIC REVIEWS M83 - Hurry Up We’re Dreaming Das Racist - Relax The Weeknd - Thursday Cant - Dreams Come True Florence and the Machine Ceremonials Modselektor - Monkeytown Apparat - The Devil’s Walks Neon Indian - Era Extraña

057/ MASPERO Investigative report on the nature of the recent Maspero events and public reactions to it

F I CTI O N 028/ UNUSUAL AND THIN One of our household favourites, Thea Price Eckles with a marvelous poem

012/ I AM A FRUIT SALAD UNIVERSE Our very own Nurah Farahat covers Azza Fahmy’s Workshop “Nubre” in Aswan

D E PA R T M E N T S 004/ AWESOME’S NOTE

007/ THE PUNCHLIST

026/ ASK ADAM

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FEATURES Mixcloud Burning Man Jimmy Edgar

THE LIST: GEOLOGICAL TIMESCALE

062/ QUIZ


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The idea to start a magazine had been in my head ever since I worked for a local magazine and got fired because my ideas “were not in line with the magazine’s culture”. So I wrote out an outline and a tacky business plan, but never managed to find the time to get it started. Thanks to the revolution, I lost my job, and suddenly had all the time in the world.  In business terms, it was absurd to start a magazine in the midst of a financial meltdown. But our idea was, censorship would be lax, and we like to say ‘fuck’ a lot, so why not.  So we did, and here we are, 5 issues later, still alive. How? I got mad friends with benzes, C notes by the layers, true fuckin playas. My concern is we never really got the chance to introduce ourselves to our readers properly, our editor’s notes have been a series of ambiguous yet highly entertaining conversations between Awesome staff members, but none provided any concrete idea about what we’re doing. So I decided to write a short brief; a list of things that we are and are not. We are not trying to ride the wave of under-qualified political analysis that is now the central feature of every lifestyle/fashion/women’s/anything magazine you’ll find anywhere. Why? Because it’s just not real. People who want real political analysis, will find a credible qualified source, not a magazine about culture and society. Note: bloggers are not political scientists, they’re normal people like you and me sharing their personal OCTOBER//NOVEMBER//2011

opinions, so interviewing them doesn’t make you The New York Times. We are not a collage of photos of parties and rich people’s weddings. Why? First of all, because that’s just fucking stupid, but also because we don’t believe that looking at other people’s (or your own) photos to feel better/worse about yourself is healthy or in any way beneficial to anyone.  By our measures, we are as relevant as a magazine can be, read our features if you don’t believe me. Some of the ideas, sub-cultures and phenomena that we cover are post-revolutionary by nature, others are not but interest our target audience (Egyptians as well as others); we don’t have to boast the Egyptian flag on our cover to be ‘Local’.  What makes “Awesome” awesome, more than anything else, is the amazing pool of contributors that believe in and support what we’re doing. It would be a shame that their work pass unnoticed, so we urge our readers to read and indulge in their work, to give them the recognition that they deserve. Last but not least, our readers are why we thrive. We are a dynamic ever evolving bunch, so your feedback is much appreciated. Hit us up on our Tumblr, Facebook, follow us on Twitter, or call our marketing manager Omar Amin (good looking fella, his number is in the masthead, prank call him, it’s fun) and speak your mind.

ASEM TAG


ARTIST OF THE MONTHRYAN DE HAAFF INTERVIEWED BY ZULI

When/how did you start doing this? I started drawing from a young age, like most illustrators will tell you. I mostly copied stuff from photos but when I was around 15 I saw an anime for the first time, Dragon Ball Z, and was (embarrassingly now) blown away. I searched online for anime tutorials and went from there. It›s only in the last few years that I›ve been getting work though. Some of your stuff has a comic feel to it…are you into comics? If so, what is your favorite comic and has it influenced you in any way? I›m not hugely into comics. I›ve tried a few graphic novels, obvious stuff like Watchmen and Batman: Year One, but they didn›t really resonate with me. There are a few online comics that I regularly follow, like Sin Titulo, The Abominable Charles Christopher and Scary Go Round. Not sure what the difference is, I guess I don›t like superhero comics. I wouldn›t say any of those have had an influence [on me], I OCTOBER//NOVEMBER//2011

do really like Moebius› work though, which is an influence. What would be your perfect setting to get creative? Nothing special. My lounge, good tunes, and some kind of time restrictor on my internet and TV to make sure I don›t have too many distractions. Top 3 artists of all time. Go! Crap, ummm Gustav Klimt, John S. Sargeant, Iain McCaig...I want 4, Moebius as well. Sorry! Does music influence your work? Yes. Generally it only changes the speed at which I draw though, not the content. I basically thrash and mash the pen into the paper if listening to Dubstep or something like that. Top 3 bands/musicians of all time. Go! Queens of the Stoneage Laura Marling White Stripes

Have you ever been to the Middle East? Nope, the closest I›ve been is probably Cyprus. Do you plan on visiting anytime soon? Maybe one day, I might hang back a few years in case any other revolution kick-off though. Where is the best place for your new Middle Eastern fans to find your work? Currently my flickr account (www. flickr.com/photos/ryandehaaff) as I update that the most. Do you know where I can find the clitoris? Down the back of the sofa probably.

De Haaff’s art can be found on our front cover and pages 8, 20, 26, 59 & 63

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THE PUNCHLIST AHMED MIKKY//WAEL EL IBRASHY//CAIROKEE FOR SINGING LIKE ARABIC IS THEIR SECOND LANGUAGE//LOCAL BANDS WHO DON’T TAKE CRITICISM//MOHAMMED EL SAWY//EVERYTHING SKRILLEX RELATED//DJ SAMBA//ESSAM KARIKA//ANY “TEAM LEADER” AT A CALL CENTER//LIAM GALLAGHER//AMR DIAB FOR HAVING THE NERVE TO…JUST AMR DIAB//THE INTERNET IN EGYPT//“PLANKERS” (I’D RATHER KICK THEM IN THE STOMACH THOUGH) OCTOBER//NOVEMBER//2011

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GIVE A FOREIGNER A HUG DAY BY SELMA FAYEK

RYAN DE HAAFF

MUSINGS OF A CYNICAL FOREIGNER IN CAIRO, PART DEUX

In the year I spent in Cairo, I never brought myself to see the Pyramids. Actually, the thought of it still really stresses me out. When I lived in the hostel for a time, the tourists would come back grumbling about the entire experience: the excruciating heat, the poor emaciated camels that trembled under their weight, and the countless people who would hassle them to take tours. Later, I would boast about my never having seen the Pyramids to anyone who inquired. For tourists, just going to the Pyramids was an accomplishment. For me, not going was just the same. The expat scene in Cairo is something completely different than that of the other places I’ve experienced. Cairo seems to be the place where an influx of foreigners migrate after they graduate university becoming quickly disappointed by the way society puts such an emphasis on getting a typical 9-5 and working your way up the corporate ladder. At least that’s how it works in the US. Many will enroll in a masters program at AUC, do a fellowship, study Arabic, or work. Often the job a foreigner acquires in Cairo is far better than the entrylevel job they would be forced to take in their respective countries. They may work as a journalist, in an NGO, or in countless other vocations. Thus, the foreigners are given the false sense of importance. Or perhaps, it is not false. Perhaps, for once, their grasp of the English language and their willingness to start a new life overseas, should count for something. I’m not exactly an expert in this area. Continued

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I’m sick of that “conversation” you always have with complete strangers. I want boring fucking people, for a change. On the opposite side of this spectrum are the weekly maybe nightly visits to Horraya, the house parties, and the lavish apartments in Zamalek and Maadi. For many, having an extravagant lifestyle in Cairo is not only possible it comes with great ease. They can rent an apartment with a balcony, perhaps a roof terrace, and a view of the Nile for a fraction of what they would pay in New York or London. At first, I became infatuated with this idea, determined to create a new life here. Living on a houseboat and going out all the time, I could freelance occasionally and make enough money to survive for months in Cairo. Why would I ever go back to living in a box in Brooklyn, working all the time, only to have panic attacks at the end of the month when the rent is due? Now…I’m really fucking cynical. Over time, I noticed that many of the foreigners I befriended seemed to come and go with such transience. I couldn’t understand why anyone would want to leave Cairo. But inevitably, those same foreigners who questioned their society enough to move to Egypt will also question their place in Cairo. For some, this reality makes them go a little crazy in the head, for others, they can learn to be exceptionally content living on an island. A HOUSEBOAT PARTY… We had dinner at M’s. For some reason, I was feeling especially cynical that night due to over partying, lack of direction or maybe some variant of the two. We ate couscous, drank wine, and the boys rolled some joints. There was talk of a party in Maadi, but we were all feeling too lethargic to make the trip. “What kinds of people are going to be there?” I said regarding the party in Maadi. M shrugged. “I’m sick of interesting people. I’m sick of that “conversation” you always have with complete strangers,” I said. “I want boring fucking people, for a change.” The conversation I’m referring to is the interaction between two foreigners at a party or social gathering. This conversation always contains the same question: what brings you to Cairo? Basically, a person can gage whether or not you are interesting enough to talk to, based on your answer to this question. I always respond: “I don’t know,” in order to defer this question. But somehow, this response usually gets me a nod of approval and more subsequent questioning. Later in the evening, we discovered news that there was a houseboat party on the Corniche. Suddenly, my tone changed completely. This is because my best memories

of Cairo, center around our brief but glorious reign on a houseboat in Embaba. The party was decent and we danced for a while to some retro tunes the DJ was playing. Occasionally, I would leave briefly to smoke a cigarette on the balcony and gaze out onto the Nile. One of these times N, an endearingly young and enthusiastic undergrad at AUC, joined in on my contemplative reprieve. After catching up, I realized that he didn’t possess the same spunk as is typical of his character. I hadn’t seen him since before the revolution, but it was clear that neither of us wanted to talk about that or the “interesting” things we had been up to. Instead, I gave a rather long monologue about the expat scene in Cairo. After I was out of breath he replied, “I’m thinking of writing a novel.” “Oh what is it about?” I asked genuinely interested. “It’s about an American guy in Cairo. He goes to bar like Horayya and meets a group of people. They shape his whole way of thinking. They challenge him in ways he never imagined possible. Ultimately, he has to choose between this world and the life he knows.” “I’d read it,” I said. “What is it that expats in Cairo value?” I asked. N was perplexed from the question and so I answered for him. “They value stories. Everyone comes here for a life that is radically different from the one they are accustomed to. But in turn, they forget where they are from. They forget about the things that make them “normal.” We all end up having to choose.” That said, the foreigners in Egypt are probably the most interesting people I have ever met. I sometimes wonder why that is. Sometimes I feel as if the foreigners in Cairo have been hand selected for this city based on their inability to conform to traditional standards. But maybe it is being in Cairo that makes them interesting. While the foreigners do indeed live in a different world, a different planet sometimes, it seems there are also times when these two worlds collide, which can also add to the confusion of the foreigner conundrum. But on those rare special occasions it can result in something quite beautiful ethereal, even. On the top of my head, I remember my Arabic teacher and her compassion for me, even though I never did my homework. I remember when I worked at the bar and quit every other night after some argument with the waiters. The manager would always chase me outside and yell, “We love you come back!” I would finish my cigarette and go back inside. I remember during the revolution when Ahmed came over and we all ran to the stairs because we were so happy that he was alright. I remember sitting in the desert with the Bedouins during a lunar eclipse next to my best friend who is also a foreigner. We both lived in Brooklyn, but would meet only in Cairo under peculiar circumstances. I remember his skinny pants and the devious smile that came over his face at the mention of a party. In these moments, I forgot completely that I was a foreigner living in Cairo and that I have no fucking clue what I’m doing. When I remember these things, I stop being so cynical and I’m reminded once again why I fell in love with Cairo.


I’M A FRUIT SALAD UNIVERSE On the 16th of October, leading Arab jewellery designer Azza Fahmy held a jewelry design workshop in Aswan. We sent our very own Nurah Harakat to look at the many hipster triangles printed on the walls of houses in Aswan and also cover the workshop.

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BY NURAH FARAHAT O NURAH FARAHAT

Wait, what? That’s not the kind of thing you’d normally hear in a jewelry workshop…or anywhere for that matter. I’ll be honest. When Awesome asked me to cover Azza Fahmy’s contemporary meets heritage jewelry workshop in Aswan, my first thought was: “Whoa! ASWAN!”. Then my second thought was: Well what’s new about that? Lately it’s been nothing but that everywhere you look. Not just jewelry, but the whole “Bringing back our heritage!” thing. Oh yes, hide your kids, heritage is coming back in the form of fridge magnets with old Arabic proverbs on them, notebooks, candles, mugs and just about anything you can sell. It’s all over the place. But I went. When I first met Christoff Zellweger, the Swiss contemporary jewelry designer conducting the workshop, we had a short talk while having breakfast by the Nile, after which he handed me a postcard he designed which read on the back: “Thinking of you, of rhizomes, non-hierarchical systems, states and patterns…” Naturally, I asked what the hell a rhizome is and why he would think about one. He explained that he’s interested in patterns and how they’re formed. Rhizomes grow in the soil depending on available spaces and water. So the rhizome pattern is one based on opportunity. I thought: “This is going to be interesting.”

And I was right. First of all, it wasn’t about jewelry-making, as much as it was about finding inspiration, recognizing it, understanding it and then knowing what to do with it. It wasn’t about copy/pasting from the old as much as it was about recreating its process in order to understand the process itself rather than the outcome and then seeing whether or not it’s relevant to you. Quick fun fact: Symbols that started the Nubian language are still drawn today on Nubian houses. It was about understanding patterns through spontaneously dancing in paint and pepper. Different patterns from different rhythms. It was about understanding yourself so you can communicate it, which was the hardest part for the participants. Christoff constantly took them out of their comfort zone and pushed them to find personal meaning to their designs through a lot of interrogating, and starting again from scratch. At some point in the workshop, when the designs were starting to look like jewelry, he said: “I never said make jewelry. I said make a piece that can fit anywhere on the body.” Well, I was a bit nervous when it was finally time to interview Christoff, mainly because I had prepared questions, and by the time I sat down with him, some had either been answered by the workshop and a big chunk was no longer relevant. So most of the interview wasn’t prepared.

pppppppppppppppppppppp CHRISTOFF ZELLWEGER

You’re a contemporary artist, contemporary means now. But the workshop is also about heritage and cultural identity, how does that fit in? -Well, I’m interested in cultural identity, because I think we can only start from where we are and we’re all imbedded in two cultures: a specific culture and a non-specific culture. The non-specific culture is a more global culture, we’re no longer thinking local. We’re thinking local, national and global, and with the all the new media emerging, we’re all influencing each other in a massive way, and we find it hard to preserve our specific cultural identity. But don’t you think that might be a natural progression for cultures? I mean we can’t just reach a certain point and stop evolving. Even the cultures/heritage we’re trying to preserve were an evolution of something else. -Our traditions are important. We should not lose them, but at the same time, we should build on them and see what the values of our time are. We should evaluate which are the ones we want to keep and which ones we would be happy to develop further. I mean there are new things which I find very interesting, and they are enriching our lives, but we’re becoming a shallow, copy/paste culture because of the corporations and the new media, I mean now you can travel very far but you’ll be unimpressed because you find the same things you have back home, the same food, the same clothes, so there’s a need for distinction in OCTOBER//NOVEMBER//2011

this non-specific culture and we can find this distinction by rooting ourselves in our specific culture. During the workshop you said something that I found very interesting, you said: “You are all very talented, you can make jewelry fast and you can sell it… but what does it have to do with your personal process?” -I think it’s too easy to do. Jewelry is just too easy to make if you don’t have some meaning to it. I think it has to go beyond the obvious because the obvious is what anyone can do, it’s copy/paste, I mean ok, it’s nice to bend a little bit of wire and put a stone on it, but that can’t be it, it has to convey a meaning. Like what? What more could there be to jewelry? -Jewelry is not just about status, it’s a communication tool, I mean, I see the iPod, I see people wearing it around their neck, and it could actually get them talking about something. Then it was a reason to communicate. You can call it jewelry or not, but I think it is. The youngsters take time to pick which brand is the right one for them, because it will define their status and community, so they interlock into branding. So it’s not just status and communication, it’s also a way of identification? -Humans have done this for thousands of years. If you want to belong to people of a certain tribe, you had to have the right accessory. So it’s access. Accessories are a 013


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means of “access-ing” a certain part of a society, being a part of a community, identifying who you want to be with and who you don’t want to be with. So it can be about exclusion as well. If I wear certain things, I could say: “Look, I don’t want to talk to you because you don’t do the same.” Which is actually a criticism of much of the jewelry-making going on these days which says: “Look, I have the financial means of buying this gold, silver, and stones, which you don’t have.” Then what do you think is an ornament? -I think culturally there are different readings to that, but I don’t like the word ornament because it has become trivialized and banal because of its overuse in the media and commercialization. I like to focus on the artistic intention and expression behind it. Maybe we’ll have to look for a new word for it… Do you think jewelry as an art can go as far as initiating change in a society? -It’s nothing new, call it jewelry or not, the body has always been a fantastic place to be political, critical and to demonstrate your identity or your belief. And that is the bottom line of what I think jewelry should be, to be a tool, a medium to communicate who you are, and what you think about your world. PARTICIPANT: NOURHAN, ART AND DESIGN STUDENT. “I feel like it’s a lot deeper than other workshops I took part of, because it focuses more on the process and emotion behind the design, so it’s more about the “Why?” rather than the “What?” I think what we’re doing is very current because nowadays people are moving away from mass production and more towards mass communication. We’re designing experiences rather than objects.” PARTICIPANT: ANNE, PROFESSOR AT AUC Do you think the workshop was culturally specific? I do. We identify ourselves in terms of larger structures. We identify ourselves in terms of family or country or religion and so on, and we have an allegiance to that rather than the individual voice. And this is where Christoff comes in. He helped us find our place within the larger network. But the question for Egyptians here is how they can communicate this to other Egyptians? Will anybody buy it? And the answer is: No. This is jewelry-making as a true art form.

AZZA FAHMY

Why Aswan? -I love Aswan, it’s a very special and peaceful place with the Nile, the Cataract and its villages. Also, the people are friendly and peaceful, so bringing the participants here will have a different effect than if we held the workshop OCTOBER//NOVEMBER//2011

back in Cairo. What was the reason behind picking already talented and experienced artists, designers and practicing jewelry-makers to join the workshop? Well, the point is to broaden their design horizons and take them outside the box. For example, one participant designed a scent. This was something unthinkable! To design something intangible and without shape or form and put it in tangible form wasn’t an option before, but now it is to her. It’s all about opening up your mind to new possibilities in design. “Taftee7 demagh ya3ni”. What do you think of Christoff’s methods? I’m very happy with how he’s focused on bringing out people’s characters and trying to materialize the abstract. It reminds me of when my daughter was studying design abroad and she would call me up telling me about an assignment and her topic would be for example: Storms! Imagine that. Designing with that theme! I sometimes feel like you’re also a participant in the workshop. Would you say that it has influenced you? I’ve been doing this for 40 years but I’m happy to say I’ve learned something new. Christoff made me look at jewelry from a new perspective. She then added:“Ye3eesh el me3allem w yet3allem.” One thing that was prominent was that there was a lot of heart in this project, a lot of after hours one-on-one’s late into the night, and individual guidance to the participants. Let’s be honest, it’s not the first thing you’d expect when you first meet a jewelry giant like Azza Fahmy to be this down to earth and warm with everyone, but even the people working with her further explained that that’s just how she works, and that her company is more of a family and a very flat organization where everyone (by everyone they mean Azza) is accessible to everyone. This was the inspiration/design part of the workshop, and the next 2 months will be the supervised implementation part. There will be an exhibition for the finished pieces in February. CHRISTOFF’S LAST WORDS TO THE WORKSHOP: “If you are now representing the moment, if you’re really “in time”, then you’ll make work that is contemporary. 21st century means contemporary. I can’t see ahead of it, but I can see now. So if you stay true and do what you have to do, then you’re right. Your work will be contemporary.” To stay updated about the exhibition and future workshops, go to: www.nubre.com For more information about Christoff Zellweger’s work, go to: www.christoffzellweger.com


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7 1: Christoff helping a participant. 2: Temporary implementation of one of the pieces, designed by Indiana. 3: Another piece, by Amira, where you try to find adjectives in the piece. 4: Christoff’s work. 3

5: The participants and organizers of the workshop. 6: Red wax stamp piece by Isabella. 7: Isabella’s temporary version of the design using blue candle wax. 6

5 OCTOBER//NOVEMBER//2011

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‫لكل �رشائح املجتمع بدون �إنتقاء‪ .‬لكن م�ؤخرا �أعلنت اكرث من حكومة‬ ‫بريطانية متعاقبة معاناة القطاع من �أزمات ديون وخ�سائر ب�سبب‬ ‫�إلتزامه مبعايري اجلودة خ�صو�صا فى امل�ست�شفيات اللى بيرتدد عليها‬ ‫�أعداد �أقل من املر�ضى‪ .‬ف�أعلن م�ؤخرا ديفيد كامريون رئي�س الوزراء‬ ‫الربيطانى �إنه بيخطط لإ�صالح القطاع ولي�س خل�صخ�صة القطاع‬ ‫لكن قررات تفكيك الهيئة اللى كانت بتدير القطاع ومترير مهمتها‬ ‫لكيانات م�ستقلة بعيد عن رقابة احلكومة جعل ال�سيا�سيني ي�أكدوا‬ ‫�إن ما يتم �إعالنه على ال�شعب هو على النقي�ض من ما يتم على ار�ض‬ ‫الواقع وان كامريون وحليفه نيك كليج (ممثل حزب العمال املتحالف‬ ‫مع حزب كامريون املحافظ) عندهم بالفعل نية لت�سليم القطاع‬ ‫و�إدارته لل�رشكات االجنبية كحل ملواجهة اخل�سائر‬ ‫املخاوف فى املقابل هى نف�س ال�سمعة ال�سيئة لل�رشكات الأجنبية‬ ‫املعروف عنها بحثها الدائم عن الربح واللى معناه قيامها‬ ‫بتغيريعقيدة عمل امل�ؤ�س�سة من خدمات �شاملة وجيدة لكل مري�ض‬ ‫�إىل عقيدة الربح قبل املري�ض‪� .‬رسية ال�صفقات نف�سها �أثارت قلق‬ ‫املجتمع الإجنليزى اللى كان متوقع �أ�سلوب �أكرث �شفافية فى الإعالن‬ ‫عن �صفقة مماثلة ب�إتخاذ قرار بتحويل من ‪� 10‬إىل ‪ 20‬م�ست�شفى من‬ ‫�إدارة دائرة ال�صحة الوطنية �إىل �سيطرة ال�رشكات الأجنبية‪.‬‬ ‫ال�س�ؤال هنا هو‪ :‬من �سيكون حمل املحا�سبة �إذا حدث �أى �إهمال فى‬ ‫�إدارة تلك امل�ست�شفيات؟ املحللني اكدوا �إن �إبعاد وزير ال�صحة عن‬ ‫حتمل �أى م�س�ؤلية يفر�ضها عليه من�صبه من تقدمي خدمات الرعاية‬ ‫ال�صحية لكل مواطن كان �إبعاد مق�صود وكان جزء من ال�صفقة‬ ‫لكن توجد م�ؤ�س�سات �أخرى رغم عدم ت�صنيفها �ضمن نطاق القطاع‬ ‫اخلا�ص حيث متتلك احلكومة �أغلب �أ�سهمها لكنها غالبا ت�أخذ قراراتها‬ ‫ب�شكل م�ستقل دون مراعاة لإعتبارات احلفاظ على �صورة الدولة التى‬ ‫تدعمها وحتت�ضنها على ار�ضها لدرجة و�صلت ببع�ض امل�ؤ�س�سات دى‬ ‫�إنها تكون جزء من م�رشوعات �أو �صفقات ال تتفق مع الإجتاه العام‬ ‫حلكومة الدولة و�أحيانا ي�صل التجاوز �إنها متول جهات �أو ت�ستثمر فى‬ ‫�صناعات كانت حكومة الدولة تعهدت فى �إتفاقيات بعدم الإقرتاب‬ ‫منها ب�سبب خطورتها‬ ‫بيعترب تاريخ �صفقات و �أعمال رويال بنك اوف �سكوتالند �أكرب مثال‬ ‫على جتاوزات امل�ؤ�س�سات اململوكة للحكومة فرغم �إن دافعى ال�رضائب‬ ‫هم من �أنقذوا البنك عام ‪ 2008‬ليحافظ على متا�سكه لكن ظهرت‬ ‫معلومات بت�أكد �ضلوع البنك ب�ضخ ماليني اجلنيهات ك�إ�ستثمارات‬ ‫فى �رشكات �أمريكية تقوم بت�صنيع القنابل العنقودية فى الوقت‬ ‫اللى �إجنلرتا م�شاركة فى التوقيع على معاهدة منع ت�صنيع او �إنت�شار‬ ‫القنابل العنقودية و جتارة الأ�سلحة عموما‪...‬بالإ�ضافة لف�ضائح عن‬ ‫تقدمي البنك لدعم ماىل للنظام امل�رصفى حلكومات قمعية بتمار�س‬ ‫اجهزتها االمنية جتاوزات �ضد املتظاهرين ال�سلميني اللى بيطالبوا‬ ‫بالق�ضاء على الف�ساد داخل وطنهم زى ما ح�صل من جانب احلكومة‬ ‫فى بيالرو�سيا واللى قدم لها البنك �سندات مالية �ضخمة بالعملة‬ ‫الربيطانية �سيعجز النظام الإقت�صادى املتهاوى و اله�ش هناك عن‬ ‫ت�سديدها ب�سبب �ضعف قيمة العملة البيالرو�سية‪.‬‬

‫”‪> www.msnbc.msn.com: “Postal Service Looks for New Ways to Cut Loses‬‬ ‫”‪> http://money.cnn.com: “Big Oil: To create jobs, let us drill more‬‬ ‫’‪> www.independent.co.uk: “Oil exploration under Arctic ice could cause ‘uncontrollable‬‬ ‫”‪natural disaster‬‬ ‫“ ‪> www.guardian.co.uk: “Shirley Williams plunges NHS reforms into fresh turmoil‬‬ ‫”‪> www.independent.co.uk: “RBS helped bankroll Europe’s last dictator‬‬

‫‪OCTOBER//NOVEMBER//2011‬‬


‫تكرر حدوث االزمات الإقت�صادية وبحجم هائل و �أ�صبح ال يقت�رص ت�أثري‬ ‫االزمة على دولة واحدة �أو تنح�رص اّثارها ال�سلبية فى قطاع معني‬ ‫داخل املجتمع فقط‪...‬لكن ب�سبب �سيطرة مفهوم التكتالت ال�ضخمة‬ ‫على النظام الإقت�صادى العاملى �أ�صبحت كل �أزمة �إقت�صادية زى‬ ‫العدوى اللى بتتنقل لكل الدول املرتبطة ب�رشاكة �إقت�صادية مع‬ ‫الدولة اللى ح�صلت فيها الأزمة مع �إحتمال �إنتقالها على مدى‬ ‫زمنى �أطول لدول �أخرى ميكن التكون حتى ذات �صلة �إقت�صادية بيها‪.‬‬ ‫كمان حدوث ازمة �إقت�صادية فى قطاع زى ال�صحة مثال ممكن ي�أثر‬ ‫على كفاءة وجودة باقى اخلدمات اللى بتتكفل الدولة بتقدميها لإن‬ ‫احلكومة ع�شان تعالج ازمة فى القطاع ال�صحى معناه �إنها هتحتاج‬ ‫مليزانية �أكرب للقطاع ده وهتوفر الزيادة دى غالبا من ميزانية قطاع‬ ‫تانى زى التعليم مثال‬ ‫لكن �أحيانا بت�ضطر احلكومات �إنها تلج�أ جلهات خارجية عندما تكون‬ ‫االزمة اكرب من قدرتها على املواجه‪ .‬مثلما تدخل الإحتاد االوروبى‬ ‫عندما حدثت ازمة ديون اليونان اللى زاد حجمها عن قدرة ميزانيتها‬ ‫كدولة فى الوفاء ب�أق�ساط ديونها‪ .‬ورغم معار�ضة عدة دول داخل‬ ‫الإحتاد زى �إجنلرتا على اى قرار يلزم دول منطقة اليورو �إنها تقتطع من‬ ‫ميزانياتها ع�شان ت�ساعد اليونان املتعرثة بل وتوجيهها اللوم حلكومة‬ ‫اليونان على ت�أخرها فى التنب�ؤ باالزمة وده اللى خلى الأزمة بالتاىل‬ ‫تكون بال�ضخامة اللى جترب دول منطقة اليورو على التدخل‪ .‬لكن‬ ‫�أملانيا اللى بتمثل القوة احلقيقية اللى بريتكز عليها الإحتاد الأوروبى‬ ‫قررت �إنها الزم تتدخل مل�ساعدة اليونان على الأقل ملنع نقل عدوى‬ ‫الإفال�س لباقى دول الإحتاد وذلك من خالل قرو�ض ت�ساعد اليونان على‬ ‫الوفاء ب�أق�ساط الديون و�ضخ �أموال فى النظام امل�رصفى اليونانى‬ ‫لدفع حركة الإقت�صاد فى الدولة وفى املقابل فر�ض عليها الإحتاد‬ ‫االوروبى �رضورة �إتباع خطط لتقليل النفقات من خالل �سيا�سة‬ ‫التق�شف اللى هي�ؤدى الإلتزام بتنفيذها من جانب احلكومة �إىل دليل‬ ‫يثبت �إ�ستحقاقها للقرو�ض دى وهتبقى اخلطط مبثابة معايري هيقيم‬ ‫بيه الإحتاد االوروبى مدى التقدم اللى بتحققه احلكومة اليونانية‬ ‫فى طريق اخلروج من االزمة‪ .‬لكن ظهرت خماوف اليونانيني من �أن‬ ‫يحل البنك املركزى و�صندوق النقد الدوىل حمل احلكومة فى �إدارة‬ ‫الدولة واللى ممكن ي�ؤدى لقيامهم بتحديد القطاعات اللى هتح�صل‬ ‫على القرو�ض وفقا ملعايري مزدوجه او غري �شفافه و�أي�ضا تخوفهم‬ ‫من وقوع اليونان فى م�ستنقع الإقرتا�ض وعدم قدرتها على اخلروج‬ ‫منه خ�صو�صا �إن الإقرتا�ض كحل ملواجهة االزمات الإقت�صادية م�ش‬ ‫بال�رضورة �إنه يبقى متوفر ب�إ�ستمرار خ�صو�صا فى ظل توقعات كبرية‬ ‫بتفكيك منطقة اليورو لإنها �أ�صبحت م�صدر للإلتزامات والأعباء‬ ‫املالية على الدول الأوروبية بعد ما كانت منجم ممتلىء بالفوائد جلميع‬ ‫الأطراف ‪.‬‬ ‫لكن فيه حاالت �أخرى �إ�ستعانت احلكومات فيها ب�شكل �رسى‬ ‫مل�ؤ�س�سات القطاع اخلا�ص ع�شان ت�ساعدها فى حل م�شكالت كان‬ ‫من املمكن حلها دون الإ�ستعانة بجهات معروف عنها �إهتمامها‬ ‫الأ�سا�سى مب�صاحلها ال�شخ�صية لكن الظاهر �إن املزايا اللى بتعر�ضها‬ ‫�رشكات القطاع اخلا�ص من متويل احلمالت الإنتخابية ملر�شحى احلكومة‬ ‫جنحت فى فتح الطرق �أمامها للتدخل فى �إدارة �ش�ؤون الدولة‪.‬‬ ‫من �أمثلة التدخالت دى‬ ‫�أزمة التوظيف فى الواليات املتحدة الأمريكية‬ ‫بعد �إنتهاء االزمة الإقت�صادية فى �أمريكا بنهاية عام ‪ 2009‬رغم‬ ‫�إعتبار العديد من املحللني الإقت�صاديني �إن الأزمة مل تنتهى‬ ‫خ�صو�صا لل�رشائح متو�سطة الدخل لكن جاءت تقارير عدم توفري‬ ‫احلكومة االمريكية اى وظائف فى �شهر �أغ�سط�س ‪ 2011‬لت�ؤدى‬ ‫�إىل �سيطرة ازمة التوظيف على امل�شهد الأمريكى وظهور �إتهامات‬ ‫للرئي�س �أوباما برتكيزه على ق�ضايا معينة فقط زى م�رشوع الرعاية‬ ‫ال�صحية و�إنه مل يهتم بالوقاية من الأثار ال�سلبية املتوقع حدوثها‬ ‫بعد �إنتهاء الأزمة الإقت�صادية‪ .‬لكن رغم �إ�رصار الرئي�س االمريكى‬ ‫على عدم جعل االزمة مربر للجوء ل�رشكات القطاع اخلا�ص �إال �إن‬ ‫‪019‬‬

‫ذلك مل مينع عدد كبري من ال�رشكات �إنها ت�ستغل الفر�صة ع�شان‬ ‫تقوم بدور املنقذ خ�صو�صا �إن فكرة اللجوء للقطاع اخلا�ص لتوفري‬ ‫املزيد من الوظائف هى فكرة بيدعمها �أغلب كوادر احلزب اجلمهورى‬ ‫ب�إعتباره املناف�س ال�رش�س للحزب الدميقراطى اللى بينتمى له الرئي�س‪..‬‬ ‫خ�صو�صا �إن فى كتري من امل�ؤ�س�سات اللى بتمتلكها احلكومة بتواجه‬ ‫�شبح الإفال�س زى �رشكة الربيد الأمريكى اللى لن تكون فقط غري‬ ‫قادرة على دفع رواتب العاملني �أو معا�شات التقاعد �أو م�صاريف‬ ‫الت�أمني ال�صحى لكنها لن ت�ستطيع حتى توفري ثمن الوقود اللى‬ ‫بي�شغل عربات تو�صيل الطرود الربيدية وجمرد التفكري فى �إعادة‬ ‫هيكلة م�ؤ�س�سات زى دى بيفجر عا�صفة من الإنتقادات ب�سبب‬ ‫�إرتفاع تكاليف عمليات �إعادة الهيكلة و�إنتقادات مماثلة من ال�شعب‬ ‫الأمريكى اللى م�ش مقتنع �أ�سا�سا بالفايدة من �إ�ستمرار وجود‬ ‫م�ؤ�س�سات بريدية فى ظل ع�رصنا الرقمى‪ .‬خطورة تدخل القطاع‬ ‫اخلا�ص فى توفري الذى مل ت�ستطع احلكومة توفريه (ك�إيجاد وظايف‬ ‫مثال) بتتمثل فى نقطتني‪ .‬الأوىل �إن م�ؤ�س�سات القطاع اخلا�ص م�ش‬ ‫ملتزمة ب�أخالقيات وقواعد ت�شغيل العاملني اللى بتتبعها امل�ؤ�س�سات‬ ‫احلكومية زى عدم ال�سماح بت�رسيح العمال و�ضمان رواتب وخدمات‬ ‫رعاية �صحية ومعا�شات للمتقاعدين بدرجة الئقة ير�ضى عنها‬ ‫العمال وكل املزايا دى طبعا م�ش بتوفرها �رشكات القطاع اخلا�ص‬ ‫لإن هدفها الربح ثم مزيد ومزيد من الربح فى الوقت اللى مفي�ش‬ ‫رقابة عليها بعك�س ال�رشكات احلكومية التى ال ت�ستطيع خرق اى‬ ‫قاعدة �أقرها القانون الأمريكى لتنظيم العمل �إال بعد موافقة‬ ‫الكوجنر�س‪ .‬النقطة التانية هى �إن م�ساعدة �رشكات القطاع اخلا�ص‬ ‫للحكومة فى خلق وظايف ال يكون بدون مقابل ولوجه الله والوطن‬ ‫لكن بغر�ض احل�صول على حرية اكرب فى تنفيذ م�رشوعات و�صفقات‬ ‫ممكن ت�رض بالإقت�صاد فى امل�ستقبل �أو ت�رض حتى مبعايري احلفاظ على‬ ‫البيئة زى العر�ض اللى قدمته اكرب �رشكات البرتول العاملية حتت عنوان‬ ‫يعك�س بب�ساطة الهدف احلقيقى من العر�ض (ع�شان نخلق مزيد من‬ ‫الوظايف‪�...‬إ�سمحوا لنا مبزيد من التنقيب)‪ .‬اكدت ال�رشكات دى �إنها‬ ‫على �إ�ستعداد توفر مليون وربعمائة �ألف وظيفة فى مقابل ال�سماح‬ ‫لها بالتنقيب فى الأماكن اللى كان حمظور عليها قبل كده التنقيب‬ ‫فيها و ال�سماح لها �أي�ضا بتنفيذ عملية الك�رس الهيدروليكى (وهى‬ ‫عملية م�رضة بالبيئة �إ�ستخدمتها �رشكات النفط م�ؤخرا للتنقيب‬ ‫عن البرتول والغاز عن طريق حقن طبقات االر�ض التحتية مبياة ورمل‬ ‫ومواد كيميائية �سامة لإ�ستخراج الغاز والنفط منها واللى نتج عنه‬ ‫ت�رسب كميات من اخلليط ال�سام الّبار ال�رشب والرى النقية وعدم‬ ‫قدرة انظمة معاجلة املياة من الق�ضاء على العنا�رص ال�سامة او‬ ‫ال�شوائب اللى و�صلت خلطوط توزيع املياة النقية ب�سبب العملية‬ ‫دى) وكمان اكدت ال�رشكات رغبتها بتو�سيع عمليات التنقيب فى‬ ‫املحيط املتجمد ال�شماىل ب�سبب �سهولة التنقيب فيه و�إحتوائه‬ ‫على ‪ 160‬مليون برميل من املخزون النفطى واللى بي�ساوى ربع املخزون‬ ‫النفطى فى العامل لكن خرباء حماية البيئة اعلنوا خطورة التنقيب‬ ‫فى مكان مماثل ب�سبب �إحتمال حدوث كوارث ت�رسب للنفط هيكون‬ ‫من ال�صعب �أو من امل�ستحيل ال�سيطرة عليها �إ�ضافة �إىل ت�أثر احلياة‬ ‫البحرية والطيور املهاجرة �سلبيا لو ح�صل ت�رسب م�شابه‪...‬رغم تفوق‬ ‫اال�رضارعلى املزايا لكن �ستظل احل�صول على وظيفة من �أهم اولويات‬ ‫ال�شعب االمريكى‪ .‬فهل �سي�ستمر �أوباما فى �سيا�سة عدم اللجوء‬ ‫ل�رشكات القطاع اخلا�ص خللق وظايف حتى لو نتج عن ده عزوف‬ ‫ال�شعب االمريكى عن تر�شيحه لفرتة رئا�سية جديدة ؟‬ ‫خ�صخ�صة دائرة ال�صحة الوطنية فى اململكة املتحدة‬ ‫دائرة ال�صحة الوطنية هى كيان م�شابه لوزارة ال�صحة‪ .‬كان الهدف‬ ‫من �إن�شاءه عام ‪ 1948‬هو تقدمي خدمات الرعاية ال�صحية عالية اجلودة‬ ‫لكل من يحمل اجلن�سية الربيطانية داخل اململكة املتحدة ب�سبب‬ ‫�إدراك احلكومة �إن قطاع ح�سا�س زى ال�صحة ال ي�صح �أن يتحكم فيه‬ ‫ال�رشكات الأجنبية اللى هتحول عالج املر�ضى تدرييجيا �إىل و�سيلة‬ ‫للربح‪ .‬كما تقدم امل�ؤ�س�سة خدمات الأبحاث الطبية وتدريب االطباء‬ ‫اجلدد لرفع كفائتهم املهنية‪ .‬جنح الكيان على مدار �سنوات فى ربط‬ ‫اخلدمات ال�صحية فى بريطانيا ب�صفات الكفاءة واجلودة وال�شمول‬ ‫‪OCTOBER//NOVEMBER//2011‬‬


‫من يدفع مثن األزمات اإلقتصادية ؟‬ ‫كتابة ‪ :‬نهـال خـالد‬

‫‪RYAN DE HAAFF‬‬

‫م�ؤخرا �أ�صبحت االزمات الإقت�صادية هى املعيار الأقوى اللى بتعتمد عليه ال�شعوب لقيا�س‬ ‫مدى كفاءة احلكومة من عدمه‪ .‬نظرا لأن ف�شل احلكومة فى توفري �أو احلفاظ على معدل منو‬ ‫�إقت�صادى ثابت معناه ف�شلها فى توفري كل ما ي�ؤثر يوميا على حياة �أفراد ال�شعب‪ .‬يعنى م�ش‬ ‫هتقدر توفر وظائف وال تبنى �أ�سا�س لقطاع �صناعى قوى وال تقدم خدمات رعاية �صحية‬ ‫تو�صل لأفقر ال�رشائح الإجتماعية وال حتى تقدر تواجه �أى ازمة �إقت�صادية �سواء مزمنة �أو‬ ‫طارئة‪ .‬و ب�سبب حتول الإقت�صاد �أي�ضا �إىل و�سيلة ت�ستخدمها الدول لإثبات قوتها خ�صو�صا‬ ‫بعد �إنتهاء ع�رص �إثبات القوة باحلروب وتر�سانات الأ�سلحة‪.‬‬ ‫‪OCTOBER//NOVEMBER//2011‬‬


DAIHATSU I LOVE YOU BY ASEM TAG

So some important guy at some advertising agency who knows some important guy at Daihatsu told me they’ll advertise with us if I do a special editorial. By ‘special’, he meant ‘not a normal technical review’, but a user’s opinion. I drive a Daihatsu Terios, a point which I made as soon as I entered the meeting, trying to not so subtly earn points. “I won’t just praise the car, I have a list of negative comments” I declared trying to seem like an upright and decent businessman (I call myself that now that I printed a card and shit. I still live with my mother and ask for gas money though). “Do that, that’s exactly what I want. But I would like to have one of our people write a rebuttal to your negative comments” said the guy. He was pretty cool ($$$). I never really had fun at meetings but this one was alright ($$$). We actually stayed for a while, just chatted and cracked some jokes. So I said ok, I’ll write it. So here it is. I still haven’t signed any contracts, so I hope they don’t drop us. I haven’t really driven a large variety of cars in my lifetime; I can probably count them on one hand. I also don’t know much about cars, I was into science and liked broccoli as a child, I only learned that money and bitches are all that matter in life when I hit 18. Here’s a list of things I can do with my car: • Transport 5000 copies of Awesome mag in the trunk of my car • Transport up to 12 hoes and one fat friend at the same time • Transport 5 really fat friends • Not recommended: Eat and/or drink while driving (lots of nifty cup-holders and storage areas) • Drive over speed bumps without having to slow down suddenly and get crashed into from behind • Drive on unpaved roads with moderate speed • Bully other cars through traffic • Look SWAG, roll the windows down and pump Biggie on full volume • Park on the sidewalk (sometimes) Here’s a list of things I can’t do: • Transport 6 fat friends • High-speed maneuvers • Drive past 140 kmph • Drift (amreekany y3ni) • Eat sushi • Pick up chics • Evade the police Other cool advantages include fuel consumption. For the mere price of 20 le (about 10.7 liters of petrol) I can drive around all day, a/c blastin, speakers blastin, rappin,blunt passin, braggin, haulin…you name it son. One more thing I need to address, balance and stability. This car gives the impression that the tires are greased up and the steering wheel has a mind of its own. But a few months ago, I got into a fatal accident on the 26 of July corridor; crashed into the separators while trying to maneuver past a car I didn’t notice (because I was texting), did two reverse 360s and stopped on the other side of the road. I did the math in my head at the point of collision, and thought I’d flip over, but I didn’t. I’m quite lucky to be alive. Would I advise someone to buy this car? Yeah. Why? It’s comfortable, has loads of space, is relatively cheap for a Jeep/4x4 wannabe and it didn’t flip over. OCTOBER//NOVEMBER//2011

021


A B AR B AR IAN CAR I C BY MARIE GIROD

OCTOBER//NOVEMBER//2011


CATU R E O F SWE D E N

I think I should state the following words serve a caricature which is both a projection from the tourist I had been in Sweden and a true feeling of artificiality. The French I am in Egypt who did not give up with saying “merci” with a rolled “R” felt like a barbarian in Sweden. While I can sometimes be irritated by the lack of cleanliness in Egyptian streets, I felt like trashing Sweden’s. From the chaos to the hygiene, it is quite hard to avoid the caricature, so… let’s go for it! If you look at a world map you will notice how the area above Stockholm is kind of the end of modern civilization, I mean… the end of the alignment of big cities, of industrial plants, of lights at night. A very fishy scientist would say human beings are determined by their geographical area of living. A skeptical, critical mind would hopefully not buy such a theory. But from Cairo to Stockholm, from the heat to the cold, from the noise to the silence, from the movement to slow motions, human beings definitely live and behave differently.

A song came to my mind immediately while having my first walk in the streets of Uppsala (40mn north from Stockholm), it was the soundtrack of the TV series “Weeds”: Little boxes on the hillside, Little boxes made of ticky tacky Little boxes on the hillside, little boxes all the same There’s a green one and a pink one and a blue one and a yellow one And they’re all made out of ticky tacky and they all look just the same (Malvina Reynolds - Little Boxes).

OCTOBER//NOVEMBER//2011

023


I saw all the houses tiny, cute, most of them with the Swedish flag on windows; I saw the same model of barbecue, exactly the same in almost every backyard. Then, I thought of the video game “Sims” while crossing the street, people walked by, all wearing the same type of clothes, driving a Volvo or riding a bicycle, walking alone, alone, alone, rarely as a couple, sometimes as a family, just sometimes. In that video game, your sims can die by of boredom if they don’t have a job, they can die if they don’t buy everything needed for comfort such as a coffee machine, a double door fridge, a barbecue, a TV, a billiard, a jukebox… they can die !

is to hold a beer while walking, but in Sweden alcohol is banned from public space because excessive behaviors are very badly perceived. That doesn’t mean they don’t drink of course; the proof is the long queue at the cashier of these specific alcohol stores. The other sign of originality I witnessed was groups of young people belonging to student nations, dressed up in the street as bachelorettes, gathering mainly in their own bars and restaurants where they consume alcohol and food out of taxes. I concluded that you can be “original” before adulthood then you join the ranks of 25-95 years old range people, they just wear sad clothes for campers or are retired.

I was expecting some minimalism there, having the Ikea brand in mind, but I did not imagine I would really embark on a journey into a giant Ikea store. I thought I will find some geeks adding colors and shapes to a minimalistic background, but I did not really find them, or they were teenagers, dressed up as punk or gothic, but not really behaving as punks or gothics, I mean, my picture of punk goes with a behavior, and one of them

I had walked in Stockholm’s streets, closing my eyes shortly, twice, for two reasons which were two experiments I needed to make : The first experiment aimed to check if a handicapped person could experience normal life outdoors. So, I closed my eyes while ready to cross a street, I had to wait for a sound coming from a machine at the traffic light, a tac tac sound which tacs continuously till an acceleration of the tempo which sounds exactly like a machine gun gave the signal. Then, I had nothing to fear, for sure nobody will scare me by suddenly taking my hand to help me cross, surely no car will scare me by honking to warn about anything… I crossed safely, felt like nobody noticed my handicap; I started to embody the idea of everyone being equal. Equals to the point where you cannot differentiate at first sight between someone moving in an automatic wheel chair or using that weird semi bike-chair to go shopping, no difference since no one is pushing from behind. The second experiment was about trying to listen to the music of the city. Once again I closed my eyes while walking along a large pavement and all I heard was the sound of the machine guns at every crossroad. Still a slight sound of bicycle wheels on the ultra flat asphalt was perceivable

I had walked in Stockholm’s streets, closing my eyes shortly, twice, for two reasons which were two experiments I needed to make... OCTOBER//NOVEMBER//2011


with little concentration, no voices since Swedish people aren’t loud… I came to the point where I had to check my other senses and the result was chilled: no smell because there was no pollution and ventilation systems in restaurants I guess. And nothing to touch, I did not even try; it would look too weird to act like I was checking the cleanliness of things since everything was so hygienic. Well, I did not find Stockholm’s music and this definitely prevented me from getting attached to the city. The barbarian I felt I was there actually recognized some common points between some Egyptian and Swedish behaviors. Surprised? Yes, I was as well. At the cashier of a supermarket I asked for something I could not find, seemingly the employee ignored what I was talking about. So, instead of saying “no, we don’t have it” or “ I don’t know”, she bugged like an old computer and acted like I did not exist. Egyptian and Swedish in general share that social impossibility to say No or I do not know, they prefer to propose choices they do not even consider just to avoid to look like they’re imposing their will. As a result you can be stuck for long like that. While in Egypt we generally add an obvious smile which means “I behave politely with you because it has to be like that but you know I might think differently”. The absence of smile on the Swedish face made me think they were rude which is certainly not the case. Someone explained the concept of humbleness, a very old concept in the culture of that part of Scandinavia which is anterior to the concept and existence of the welfare state. Being humble is related to the expression of equality. Practically it goes against showing off and competition and that’s what they teach kids in school. It is obvious that there is a social effort to not envision an employee as a machine and to help the employee in saving trivial effort OCTOBER//NOVEMBER//2011

as well. At the cashier of a supermarket for example, you should put your items with the barcode on the side of the eyes of the employee. Frankly, if I want to be nice to an employee I would prefer to chitchat or exchange some jokes, but the barcode intention does not make me feel human at all! There, I thought several times of Egyptian guys I know that immigrated to Sweden, trying to imagine them getting accustomed to this system where there is no need for a plan B because everything works out. I could have contacted them to figure out how their lives were. I did not. It created some anxiety because I couldn’t and didn’t want to imagine an Arab functioning with such extreme individualism. Therefore, this impression led me to question the level of caricature I might still have in mind about Egypt, I started to also question the image I send to local people in Egypt and how far I still carry the responsibility of a French caricature. I found out I was feeling more Egyptian than French in Sweden although I am European. Back in Cairo, I confirmed to myself how the chaos allows me to be whoever I want to be, how I can choose to feel un-rooted. The chaos brings a special freedom, and I know how hard it is to buy this idea in times of revolution but I just never found the grass greener anywhere every time I traveled. I want to close my caricature by sharing a movie bite, Lou Reed (Velvet underground)discusses his passion for NewYork comparing it with his visits to Sweden, in Paul Auster and Wayne Wang’s film Blue in the face (1995) : “I actually feel pretty confortable in New York… I get scared like in Sweden…you know it’s kind of empty, they are all drunk, everything works…”

025


A S K A D A M


RYAN DE HAAFF

My boyfriend is too clingy and over emotional, sometimes I feel like he’s suffocating me, he always wants me to be with him even if we’re out with friends. He gets dramatic if I’m not giving him attention all the time... sometimes I feel like I’m babysitting him rather than actually enjoying my time with him. Nehal, 23 Attention seeking behavior is not uncommon in adults. Usually, it is a product of parental neglect or abuse during childhood. Other causes are lack of self-worth, narcissism and overconfidence or arrogance. You can probably figure out which one he is according to his general behavior and attitude. There’s no specific course of action that will guarantee results, but the best thing is to talk to him and explain why you need your personal space, and it doesn’t mean you don’t like/love him, and try to give him as much attention as you can within reasonable terms, because it’s not really his fault that he is the way he is.

How do I deal with a guy that wants to be in an open relationship because he wants to avoid any drama? Anonymous, 34 Well, ‘avoiding drama’ is obviously an excuse. Open relationship means having guilt free sex with other partners. If that’s not something that you can accept, then you have no option but to walk away.

I found out my bf is cheating on me with another girl when I went through his phone. How can I confront him without admitting that I raided his phone? And what if he denies? Fatimah, 27 This is a bit tricky. You have to make up a story; maybe a friend told you she saw him with that girl. But first you have to think of what you want, if you wanna confront him and plan on breaking up, then it won’t matter, just say you wanted to text someone because you were out of credit and saw the mesOCTOBER//NOVEMBER//2011

sages. If you want to hear excuses, then go with the first one.

My gf has trust issues from previous relationships. She’s always suspecting, and keeps calling all the time and freaks out when I don’t answer. It’s starting to get to me and I tried talking to her but it didn’t seem to work. Sherif, 26 People’s past experiences are sometimes very hard to shake off. You just need to make her feel safe with you. It’s not your fault she doesn’t trust you, but at the same time, she’s not to blame. If you care about her, take your time to build trust between you. If you’re a straight up guy, she will start being less suspicious. Just be open and transparent, if you’re working late, tell her; don’t be mysterious about your whereabouts. Trust takes time, especially if someone has been hurt or deceived in the past.

I just graduated and I’m really confused about what to do with my life. My parents want me to work in the family business but that’s not what I want to do and it seems like I have no other option at the moment. Should I just stick to what they’re saying and give up on what I actually want to do or wait till I find a job that I actually like? Hussein, 21 A father always needs an heir to his empire. If you’re the eldest or only son, it would be a good idea to become familiar with the business. You also mentioned it’s the only available option at the moment, so it can’t hurt. If you have older brothers, you should still get into the business for now, it’ll give you useful experience, and there’s more room for error (since your superiors will probably be family members) so it’s a good place to learn. If in the future the business is afloat and doesn’t need you, go do your own thing. But either way, the experience will be beneficial.

027


UNUSUAL AND THIN BY: THEA PRICE-ECKLES

RYAN DE HAAFF

I admire you. Strong, and then weak, In such effective cocktails. I wake up hung-on, requesting a serotonin injection. You rolled around in the dirt, now you are asking for a shower. I watch. Imagine. How good it feels, scratching the itches all over my body -in the dirt. Muddy, like I feel. But that’s just vertigo. And it’s been treated, un-lapse-ably by Hitchcock. Light bulbs in my glass of milk. You want to love me -but… you also want to be as muddy as you feel. So, I’ll be on the landing, with my SFX. You would fix me, would you join me. It’d do you good, to wear a stethoscope. Bust a fuse in the milk bulb, with your milk teeth. Channel the electric shock into our mental health. Live, next to me unusual and thin.

OCTOBER//NOVEMBER//2011


FILMS

4TH PANORAMA OF THE EUROPEAN FILM

Misr International Films (Youssef Chahine) is proud to launch the 4th Panorama of the European Film, which will be held in Cairo November 23-29, 2011.

MELANCHOLIA

The Panorama is an annual event, in which local audiences can watch the latest award winning European productions, fiction and documentary, at cinemas Galaxy and City Stars for the duration of a week. In a cinematic landscape saturated by mainstream productions, the Panorama of the European Film not only provides a rare opportunity for Egyptians to discover the diversity and richness of European cinema, but also allows them to exchange and debate ideas with filmmakers and other industry professionals from Europe and Egypt. Apart from an eclectic film selection and international guests, this year’s special event will also include a focus on French cinema and a section on the theme of revolution, as well as a promotion of the documentary format with the screenings of some of the most interesting European documentaries from the past year.

NEDS

COUNTRY Denmark - 2011 DIRECTED BY Lars von Trier WITH Kirsten Dunst, John Hurt, Charlotte Gainsbourg and Kiefer Sutherland GENRE Sci-Fi – Drama RUNNING TIME 130 mins PLOT At her own wedding reception, Justine (Kirsten Dunst) is overcome by depression and alienates everyone, including her new husband (Alexander Skarsgard) and her devoted sister Claire (Charlotte Gainsbourg). When a new planet, Melancholia, appears in the sky, Justine knows it will destroy Earth. WHY WATCH IT This is Lars von Trier’s ecstatic magnum opus on the themes of depression, cataclysm, and the way the world might end. Brilliantly played, technically adroit and at times breathtakingly beautiful, Melancholia is still a cold and uncaring provocation, a poke in the eye with an ornately carved stick. You can admire the craftsmanship, even as it blinds you.

PINA

THE ARTIST COUNTRY France

COUNTRY England

COUNTRY Germany

“Non-Educated Delinquents” rebelling against authority

Dance in 3D in this exceptional musical documentary

OCTOBER//NOVEMBER//2011

Part of our French focus, unique artsy movie that will please nostalgic viewers


All films will be uncensored and will include subtitles. For more information visit: > www.misreurofilms.net > On Facebook 4th Panorama of the European Film

INCENDIES

FILM SELECTION The playful poem below makes references to movies and themes that are part of our film selection. Guess which verse refers to which film or theme: TAMBIEN LA LLUVIA - NEDS - AGES OF LOVE CINEMA KOMUNISTO - PINA - FRENCH FOCUS LE GAMIN AU VELO - REVOLUTION FOCUS - PROJECT NIM - INCENDIES - CARLOS - MELANCHOLIA - LES MAINS EN L’AIR - POLISSE - THE ARTIST

As the cold creeps in to introduce winter And Cairo’s streets are full of noise and litter Find refuge in the magic and charm of cinema At this year’s fourth edition of the Panorama

COUNTRY France/Canada - 2011 DIRECTED BY Denis Villeneuve WITH Lubna Azabal, Mélissa Désormeaux-Poulin and Maxim Gaudette GENRE Drama, Mystery, War RUNNING TIME 130 mins PLOT A mother’s last wishes send twins Jeanne and Simon on a journey to Middle East in search of their tangled roots. Adapted from Wajdi Mouawad’s acclaimed play, Incendies tells the powerful and moving tale of two young adults’ voyage to the core of deep-rooted hatred, never-ending wars and enduring love. WHY WATCH IT Although the film runs more than two hours, the story is so compelling and the production so beautifully controlled that we are gripped by the characters’ quest right up to the shocking end of the story. Added Bonus: Radiohead dominate the soundtrack

THE GREEN WAVE COUNTRY Germany

Engaging animated movie on Iran’s Green Revolution

Watch the world end in beautiful melancholia While dancing in 3D following the footsteps of Pina Remember the struggle of an indigenous population And travel through the Middle-East to find salvation Rebel with Scottish kids in the exuberance of youth While indulging in popcorn to satisfy that sweet tooth Let children remind you that immigrants need protection Or watch Monica Bellucci on screen, giving you an erection Learn how different revolutions have shaped the world Or ask a chimpanzee to act like a human if you like the absurd Buy a croissant and enjoy the latest acclaimed movies from France And see an abandoned kid with a bike give life a second chance Travel to the past as the screen returns to black and white You be the judge of Carlos – was he a terrorist or a knight? Sympathize with parents struggling to cope with their son’s disease While other abused children seek refuge in the police So instead of staying online or overspending on food Instead of remaining angry and blaming the Yahood Immerse yourselves in the magic of cinema like Tito once did As Cairo will be hosting Europe, from Paris to Madrid

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MUSIC ESSENTIAL SELECTION

ABYUSIF - SALBY(PROD. BY SWAG LEE) FATIMA AL QADIRI - HIP HOP SPA ZOMBY - HEXAGONS CANT – ANSWER SILKY JOHNSON - CHASIN PAPER OCTO OCTA - I’M TRYING IFAN DAFYDD - MIRANDA RICKY EAT ACID – ONLY GIRL ACE DA VINCI - THE BIRD (PRODUCED BY M∞N) T.E.E.D. – GARDEN MARIA MINERVA – GLORIA FOUR TET – PYRAMID ACTIVE CHILD FEAT. HOW TO DRESS WELL – PLAYING HOUSE (CHAD VALLEY REMIX) HYPE WILLIAMS - RISE UP (COPELAND PMT CLUB MIX) CREEPY AUTOGRAPH (JIMMY EDGAR) – CURIOSITY FRANCIS AND THE LIGHTS / INC. - EIFFEL TOWER ELITE GYMNASTICS - H E R E I N H E A V E N 3 (COVER BY HOW TO DRESS WELL) LANA DEL REY - VIDEO GAMES (BALAM ACAB RMX) RMX) REMIX) JAMES BLAKE - EVENING FELL HARD FOR US FORD & LOPATIN - I SURRENDER (PEAKING LIGHTS BASS SHIP REMIX) HOW TO DRESS WELL - SUICIDE DREAM 2 (HOLY OTHER’S EFFERVESCENT MIX) MAIN ATTRAKIONZ - TAKE 1 FEAT ASAP ROCKY PROD BY CLAMS CASINO PUSHA T FEAT. TYLER, THE CREATOR – TROUBLE ON MY MIND ITAL - ONLY FOR TONIGHT (ORIGINAL INSTRUMENTAL MIX)

NEON INDIAN – ERA EXTRAÑA K.P. & ENVYI - SHORTY SWING MY WAY MATTHEWDAVID  -TRUSSS HARD MIX - ALL TOGETHER LIL WAYNE FEAT. DRAKE – SHE WILL GAME - BORN IN THE TRAP

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FEATURED ARTIST

HUDSON MOHAWKE

BY ZULI

AKA: HudMo, Hudson Mo DOB: 11th February 1986

MINI BIO: Hudson Mohawke is Ross Birchard from Glasgow – Scotland. He started out as a turntablist at a very early age and made it to the UK DMC finals at only 15. Before signing to Warp in 2009, Birchard had already formed a significant underground following via unofficial releases and DJ mixes (especially Hudson›s Heeters (2005)). He was also DJ/Producer of now defunct hip hop group Surface Emp, and produced Manchester band Egyptian Hip Hop’s critically acclaimed debut EP Some Reptiles Grew Wings (Moshi Moshi - 20th September 2010). His Polyfolk Dance EP (Warp Records, 2009) was a huge success and featured some tracks off Heeters. A few months later he released his brilliant debut LP Butter and then played one of my personal favorite Essential Mixes of all time. His most recent EP, Satin Panthers (August, 2011), was the first Awesome music review to get 10 ZULIStars. You can imagine how excited we are for his upcoming Long Player, set for a release early 2012.

Photo by: The Seattle Times

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FEATURED LABEL BY YAZ VANSELOW

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Kaiserdamm 7, Berlin-where it all began. At a time when big record labels are hemorrhaging cash, Berlin’s evergrowing music technology initiatives have fathered an archetype for what the future of the music industry will become. By embracing digital technology, as opposed to the usual trend of labeling it as a threat, they are creating a new construct and dimension to the way people use music. Berlin, needless to say is emerging as a hub for music technology companies that are trying (and notably succeeding) to fiercely change the way we make and listen to music. !K7 is one such of these labels that has not only proven and maintained this but have also exceeded at it – something that is evident upon looking at their list of pioneering artists. It has been said that “Dancing is the vertical expression of a horizontal desire legalized by music”, those artists are some of many that have allowed us to express these desires. By far one of the most innovative labels of its kind, !K7 as we know it now – an artist label – was established in 1996. Prior to that, its creator Horst Weidenmueller had originally founded it as a music TV production company back in 1985 for festival documentaries and live videos for people varying from Mudhoney, Nick Cave and Einstürzende Neubauten. In 1992 the first edition of the X-MIX Series: digital video clips along with specially mixed DJ sets that featured Richie Hawtin and Laurent Garnier, was released. In 1993, what has been described as the “Rolls Royce of DJ mix compilations” – the “DJ-Kicks”

series was launched. This involved a heterogeneous compilation of artists from Daddy G (of Massive attack), the Glimmers, Kruder & Dorfmeister, Nightmares on Wax to Bookashade and James Holden. The series provided a dose of pop swagger to the world of electronic music, playfully flamboyant and incredibly lush production style, a lot of which can only be described as a full-blown electro orgy, perfect for gritty techno parties. The label’s never-ending success has not only allowed it to open its offices in New York, Hamburg, London and Tokyo but it now also boasts independent imprints as part of the K7 group (!K7, Gold Dust, Strut and Rapster), a music publishing company, a licensing deal with the New York based indie label Frenchkiss Records and distributes others such as BBE, Get Physical and Muthas Of Invention. Hans Christian Andersen once said that “where words fail, music speaks”. !K7 has used it’s music to speak many different languages through it’s embracement of Diverse genres. While running Rapster Records, a label which focused on Urban, Soul and HipHop (releasing records for Pete Rock, Roy Ayers and DJ Jazzy Jeff) Ever Records was launched in 2006, an indie rock label inevitably drawing it back to its roots whilst becoming a platform for Indie bands signing up several artists including Howie Beck and new Icelandic band Amiina. Indeed much of the label’s progressive triumph is down to its ability to have a finger in many tasty pies, though always flexing their electronic muscles, with which they have built a label that truly defines the term ‘Avant-garde’.

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ALBUM REVIEWS M83 HURRY UP, WE’RE DREAMING BY minus T

I don’t remember where I read it, but someone who reviewed Hurry Up, We’re Dreaming wrote something that really put to words what I was thinking while listening it - this album charmingly encapsulates the essence of m83 and offers it to you over two enchanting CDs. All the sonically fantastic soundscapes m83 explored before, over all their albums, can be found here –from stunning ambient pieces, and power ballads that tug at your heartstrings, to crazy synth-metal madness and facetiously quirky tracks... seriously... it’s all here. However, don’t be fooled and think that “they did it before/this sounds old/outdated etc”...it really sounds like a new m83 album and not recycled m83 tracks. I think its only shortfall is that somehow it seems a little less focused than Saturdays = Youth; where the album really felt solid and surgically precise. Nevertheless, the album does not disappoint and is highly recommended to everyone; any music fan is sure to find a few tracks in there to love... guaranteed. I believe if Hurry Up, We’re Dreaming had to be cut down to a single CD, it would have produced the same concentrated effect as Saturdays = Youth.

DAS RACIST RELAX BY WASSIM MATAR

Heems and Kool A.D come out with their first commercial album, their third if you count their 2 previous mixtapes “Sit Down Man” and “Shut up Dude”, and despite their snowballing hype and their creeping evolution from joke rap stoners to thought provoking rappers, ‘Relax’ doesn’t have the freshness of their past work. I mean… I tried to love it. I really did. Gave it multiple listens and there is a lot to enjoy and appreciate about it, but SDM and SUD just felt like two friends rapping about what they did in such a transcendent and through provoking way, while at all time maintaining the their unique sense of humour, whereas at times ‘Relax’ tries to be too clever and pushes too hard. Danny Brown and Despot make notable guest appearances on the track ‘Power’, and there is plenty to admire about tracks like ‘Relax’, ‘Happy Rappy’, and finally ‘Girl’, but it is telling that the best track on the album is SUD’s ‘Rainbow in the Dark’.

THE WEEKND THURSDAY BY ZULI

Yes, this is The Weeknd’s second ‘Mixtape’ (as he trendily/wrongly calls his albums) this year and no, it isn’t as good as House of Balloons but then again, how many albums are as good as House of Balloons? Thursday is a pretty cool album. The 2nd track is a bit weird but there’s always the “next” button. Actually, the “next” button will take you to the title track which is also my favorite on Thursday. There’s a dominant sense of despair throughout the album, a lot more than on House of Balloons and that’s saying something. Lyrically though, the general theme seems to be “El Khamees 3eed milad Iblees”. Track ‘The Zone’ features Drake who fucking DELIVERS (as always), although I have no idea what they’re supposed to be talking about (maybe blind-people sex?). I liked The Birds Part 1 better than Part 2. Again, I don’t know what he’s talking about; “I swear I’m just a bird”… What are you talking about? I’ve seen you live, you have a beard. Some of the songs are a bit stagnant, like Rolling Stone or Gone for example. The vocals aren’t engaging enough for the music to be more or less just the same 8-bar loop playing over and over. Also, they could’ve used a lot less fucking auto-tune. I’m wishing the 3rd album he promised to release this year is a bit more…’fun’ I think is the word I’m looking for. VERDICT What the album lacks in production and lyrics, it (kinda) makes up for in sound design.

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CAN’T DREAMS COME TRUE BY ADE BANKOLE

In a flash of inspiration, I thought I would ignore the Grizzly Bear connection, his record label’s recent rise to prominence, his stints in the mixing chair with Blood Orange, Twin Shadow etc and just focus on ‘Dreams Come True’. However, I only managed to play myself and contain it to one paragraph and here it ends. “Dreams” feels like an omnibus edition of a musical journey only instead of simply being an amalgamation of episodes, it gets better as you progress, with everything being refined and clearer. ‘Believe’ is as enchanting as it is hypnotic, ‘Too Late Too Far’ is a beautiful melee of atmospheric vocals, chopped beats and arrowed basslines that could go anywhere and does. This is no doubt a great LP with moments of ‘good’ despair and joyous explosions, sometimes in the same song, such as on ‘Rises Silent’. VERDICT Listen to this record from start to finish; in the order Mr Taylor has intended as singling out particular tracks, like I have done, sometimes takes away from the personal statement the artist wants to make first time round. Wow.

FLORENCE & THE MACHINE CEREMONIALS BY ADE BANKOLE

The wait is over for the legion of Florence and The Machine fans and musical press alike, eager to see if they can match or surpass their successful debut offering. ‘Ceremonials’, aptly released on Halloween sees the band continue to ride the wave they created first time out with a few bends and swerves here and there and what amounts to little in the way of surprise, in the form of a few synths and some 90’s house references. There are a couple of anthems in the making like ‘Shake It Out’ and ‘Never Let Me Go’ that immediately shout “stadium” in a manner that would make Freddie Mercury and Queen proud. The gem of the pack is without doubt ‘No Light No Light’, which where the bends and swerves occur, a daunting organ opening, and the spiteful tenderness of the harp mixed with signature F&TM drums. Expect crafty producers to chop this one up and be shipping it out to dancefloors across the globe. VERDICT Overall, ‘Ceremonials’ shows a band in slow progression and has not matched the hype a follow-up record usually creates.

MODESELEKTOR MONKEYTOWN BY AHMED SAMY (AKA DJ SAMIO KING EL BROGRESSIVE)

I’ve always thought of Modeselektor as a group who was able to make me dance the most to genres I disliked. A group that’s cursed with the label Dance Music, often means pure dance; limited, unintelligible, and often mindless. That was never the case with Modeselektor, and this album is no different. It’s not that often that I stumble upon an album that just feels perfect. The production is on point, there’s a good balance both within and between tracks, and there’s something for everyone on this album. In some ways, it reminds me a bit of Zomby‘s ‘Dedication’, another 2011 gem; there are certainly dance music influences in both of these albums (although Modeselektor is more “techno” and Zomby is more “dubstep”), but they also transcend dance music and are just fucking great albums. Genre-hopping, fun and loose, are few of the money labels you can stick on this album filled with variety, and something for everyone. Contributions from Thom Yorke, Busdriver, Siriusmo, Apparat. The variety of featured artists should clue you in to the variety to expect. Good luck categorizing this album. VERDICT Highlights of the album: ‘Evil Twin’ and ‘German Clap’. Weak points: both Thom Yorke collabs (something that’s become a recent trend in dance music). Old Modeselektor fans are in for a treat and won’t be disappointed by the new excursions of sonic experimentation that lay ahead.

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APPARATTHE DEVILS WALK BY MOHAMMED SEXMONSTEREXTRAORDINAIRE ASHRAF

A couple of months back, a fantastic video floated about the YouTubeosphere, that of the making of “Black Ash Veil” a new Apparat track off this, then upcoming album (google this video! Watch it!). The sound was different than what we’d encountered in the idm drenched efforts like Tttrial and Error or the more dance floor friendly Walls, more stripped down, more experimental and all in all better. This became one of the albums I started anticipating the most. With the release of this album, these convictions are confirmed. It’s been a long time coming, but Sascha Ring (Apparat) has finally shed anything that had remained of his IDM persona, leaving the company of Gridlock, Autechre and Mouse on Mars in favor of a sound more akin to fellow German indie/electronica artists The Notwist and Pantha du Prince. The acoustic instruments take the fore; the sounds are warmer, more contemplative and the use of vocals has increased quite significantly. Opener “Sweet Unrest” gives all that away in a second, with its bittersweet melody and carefully crafted atmosphere. A beginning to ensure that even the most diehard fans of Apparat’s old self would sit down and give this at least a shot.

throughout, it never comes off as formulaic or boring. It is rather one of those albums that suck you in and never let go, the lyrics are simple, honest and memorable. The songs are brimming with hooks that would last with the listener for days and weeks to come. It is one of those albums that can offer perpetual enjoyment to a wide audience of various tastes. *enter the douchebags* “Oh my god, that sounds like totally mainstream”. Get a life, please “Sounds like Coldplay to me .” It really does at times, but like a million times better, idiot. “You’re the idiot, you like pop”. Listen to the rest of the album, then die. *listens, likes what he’s hearing, dies a shameful death* The reason why this album shouldn’t be dismissed are pretty simple: it sounds original, it connects emotionally with the listener and it never gets boring. If genres and tags are your thing, then you might as well refer to this as IPM, intelligent pop music, because well this is what it really is. One needn’t look further than tracks like “Black Water”, “Song of Los” (which has a beautiful video) and “Escape” to realize that this is not your average album.

listens and dedicated ears, add a very strong personality and character to what’s going on in the foreground. It might be the fact that Ring moved from his hometown of Berlin to a tiny shack on the Mexican shores to create this album that caused this change in sound, this turn towards the more organic sound, the discovery that less is more in terms of effects and layers, and we are all the better for this discovery. FAVORITE TRACKS Black Water (the catchiest chorus on the song and all in all sublime) Goodbye (crushingly beautiful, incredibly melancholic, not for the faint hearted) Ash Black Veil (the most experimental track on the album, not over the top pretentious or anything, just awesome) The Soft Voices Die SOUNDS LIKE The Notwist Burial Pantha du Prince Shackleton A non derivative Coldplay THINGS TO DO WHILE LISTENING TO THIS Driving to an indefinite destination. Sitting by the sea. Walking in the streets of Cairo very early morning on a Friday.

The Devil’s Walk works fantastically from start to finish and even though maintaining a somber, quiet mood

There is a lot of effort put in each song, the layers in the background, the ones you only reach with multiple

Verdict

In his fifth album, Apparat has reached his personal best, a new platform from which hopefully things will only get better. The melancholy is crushing, yet leaves you feeling refreshed and a little bit more alive; this is definitely one for the year end lists.

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NEON INDIANERA EXTRAÑA BY ZULI

I imagine being Alan Palomo after the first (and very much critically acclaimed debut as Neon Indian) album cycle, you’d have to make one of three choices when writing your sophomore: 1) embrace the hype and silly labeling, adapt the image created by attention seeking media outlets, milk the cow and ‘ride the chillwaves’ 2) ignore the hype and keep doing what you’re doing (in a general sense I mean) 3) go the complete opposite way to prove you’re way too diverse to be associated with one specific scene/ sound (a la Toro Y Moi). Seems to me like Alan took the second rout and managed to prove along the way that he is far from a one trick pony. Era Extraña is no Psychic Chasms. And I mean that in a very good way, even though Psychic Chasms is an absolute masterpiece. First of all, the album was mixed by Dave Fridmann (The Flaming Lips, MGMT, Tame Impala), and it shows; replacing Chorus on the master channel with Reverb, for example, giving the album a lot more space. The bass sounds are clearer and have more body than on Psychic Chasms, and distortion is used in a noticeably different manner. Unlike sample-heavy Psychic Chasms, there isn’t a single sample on this reVerdict

cord, instead an arsenal of intricately engineered analog synthesizers. Seriously, the synth work is mindblowing. There are a lot of squarewave/8-bit sounding synths too, which came as a bit of a surprise to me, yet fit perfectly. (The verse on 8-bit heavy bonus track ‘Arcade Blues’ sounds like Ryu and Chun Li from Street Fighter covering the song ‘Californication’ by Red Hot Chili Peppers.) Although the album’s strongest aspect is overtly the sound design, the song writing and structure of songs at times is extremely elegant. I strongly disagree with the choice of singles though; ‘Fallout’ (as brilliant as it is) and ‘Polish Girl’ hardly do the album any justice. Era Extraña kicks off with ‘Heart: Attack’, the first of a three-part instrumental with part 2, ‘Heart: Decay’, cleverly placed towards the end of the album’s first half. ‘Heart: Decay’ was actually released a few months ago as a video teaser for the album. The video featured beautiful shots of Alan wandering around Helsinki – Finland where he wrote and recorded Era Extraña. The third and final part of the ‘Heart’ series, ‘Heart: Release’ serves as the album’s closer. I love how if you listen to all three in a row they present you with the album’s overall spirit and sum it up in a way. Title track ‘Era Extraña’, with its monster bass, melancholic synthesizers and reverb-

smothered vocals is exactly how I imagine a heartbroken robot would feel like, and is definitely one of my favorite 5 songs released this year. Alan’s love for guitar music is a lot more apparent, namely on the AMAZING ‘Halogen (I Could Be A Shadow)’, and ‘The Blindside Kiss’ – a track that sounds like it could be Jesus And Mary Chain or You Made Me Realiseera My Bloody Valentine cover. STANDOUT TRACKS • Hex Girlfriend • Fallout • Era Extraña • Halogen (I Could Be A Shadow) • The ‘Heart’ series ALSO CHECK OUT • Washed Out • MGMT • Toro Y Moi • Teengirl Fantasys COMPLIMENTARY ACTIVITIES • Gazing out into the distance • Dreaming of better times • Riding Chillwaves • Caressing your loved one

It’s always the easiest thing in the world to compare a band’s sophomore album to their debut but I’d like to think that in 2011, we know better by now, don’t we? Bottom line: Era Extraña is a decent album that I’ll enjoy playing a lot in the future. It isn’t really a dance album; don’t see myself playing any tracks off it at a party, rather at the afterparty whilst maxing and chillaxing.

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INTERVIEW WITH Mixcloud is a pioneering company, co-founded by Nico Perez, Nikhil Shah, Sam Cooke and Mat Clayton. The site allows users to find DJ mixes and radio content easily whilst helping DJs & presenters (big and small) to upload and promote their content to their fans and potential new followers. Three years since conception, two years since its launch and Mixcloud is going from strength to strength. Awesome met up with one of the founders, Nico Perez, at their offices in London a week after their 3rd Birthday celebrations.

BY RAMZY B

Nico, you’re originally from the US and here you are with your co-founders in London, how did you guys first meet? “We met in Cambridge while at university, two of us – myself and Nikhil used to DJ and we actually had our own radio show called ‘the get down show’ where we played funk and hiphop. From there formed a collective of DJs, dancers, MCs and so on…actually we met Sam through break-dancing and Mat who we had lots of friends in common with. We were all passionate about good music and radio. I used to be really into podcasts and things like that. So that’s how we all met” So you all met through the music scene, were you studying similar subjects at uni? “Two of us were studying engineering and the other two Mathematics, so we were like the technical crew”

So how did it get from that technically gifted musical collective to coming up with the concept for mixcloud? “After graduating we all went our separate ways, Nikhil went to London to be a brand consultant, Sam went to London to become a programmer, Mat stayed in Cambridge working as a freelance web designer/programmer and I actually went to Bristol where I worked as an engineer for six months then went to Paris for six months as well….”

rants or your favorite types of beer or whatever you wanted and we were going to bring it all together and pull out what people thought was the best of each category. But we realised that there was no real incentive for people to create lists, I mean some people would like to remember their favorite holiday destinations or something but a lot of the time there wasn’t really any reason to create lists so we kind of decided that idea didn’t really have the motor to get it through the cold start phase”

And at that stage had you had any discussions about mixcloud or the concept behind it? “No, we actually had another idea prior to mixcloud called ‘Popedo’ to do with lists, where you could make a list of anything that you liked. It could be like your top ten list of anything - your favorite jerk chicken restau-

Ok so how did you get from there to Mixcloud? “Well like I said, we were all radio presenters, DJs and essentially what happened was we all went off and got these day jobs, working nine to five at the office, and I personally like to listen to music while I work, sometimes I’d listen to itunes and my playlists

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but often that gets a bit stale and I wanted to find new music. So I started listening to a lot of radio, but I would miss a lot of the shows and I searched for mixes but they were really difficult to find. At that time you had to go to myspace and then a z-share or media file downloads, there was no home for it. Unlike with video where you can just go to youtube” Did you ever think about including video with your mixes? “We did and a lot of people have asked us that. I think at the moment we’re going to stay away from that because part of the beauty with audio content is that you can do something else while you’re listening while with video you’re locked to the screen. Especially as these are extended listening sessions, it’s much easier to get people involved if they can listen in the background and multi-task” Were you tempted to add a download feature? “Yes we were very tempted to do downloads, we wish we could but from the start we decided we wanted to make it as legal as possible and part of that meant the licences we finally got prohibited us from offering downloads” Is there a specific licence for mixes? It seems outside of the usual music licensing. “Exactly, there isn’t. So we wanted to get licensed and pay royalties to the artists who created the music. The collective society who represents the four major labels didn’t have a category for us. So we had to try and convince them and lobby them for about a year till they finally agreed to create a special licence for us” Do you know if the artists themselves were backing the idea? “Well, its funny with the artists, they want to get their music out there as much as they can but they also want to try and earn a living from it. Then they have their labels on the other side who often pay them big advances and want to recoup that. Where Soundcloud is a really good tool for people who produce their own music and own the copyright, they don’t deal with the copyright question of playing other people’s music; you’ll see many of the mixes being removed from Soundcloud. For us it’s essential that we deal with it head on” So did those licensing issues come up in your first year of development before you launched? “Not really. The ironic thing is that

when you start you’re too small for them to notice so we just did as much as we could while working on the licensing. We had considered it from the beginning, it’s not that someone tried to sue us and we reacted. We wanted to achieve our goal while paying artists for their copyrights. But at the beginning no one will listen to one of the many small businesses doing this kind of thing” So do you see the download feature coming sometime in the future? “No not really and we don’t really think it will be that important in the future. People talk about this trend moving from ownership to access, with limited memory and always connected through computers and phones. People won’t need to download everything but just access it when they want it, very much like what Spotify is doing [cloud computing].” Do you get a lot of comparisons with Soundcloud? “Yeah, we get people comparing us all the time, obviously because of the name and similarities. But as our sites get older people are learning what each site is about. Soundcloud launched about nine months before us and we seriously considered changing our name, but it’s a great name and they’re about sounds while we’re about mixes so it works. Now there’s a bunch of other cloud sites, like voucher-cloud and Apple’s iCloud. We know the guys from Soundcloud from industry events; they’re good dudes doing a good thing” Were you surprised by the speed of Mixcloud’s success? “Yes and no. When we started out we thought we’d finish the site in three months and then have thousands of people using it in six months. It took almost a year to build the site and now things are going very well” So how many visitors are you getting these days and where are they from? “Right now we have had about five thousand visitors in the last month coming from Egypt. Most of our traffic comes from the UK and that makes sense because of where we are based.” Are there any new projects or features coming up that you can tell us about? “The iPhone app is now out; you can find it on the appstore. The Android version is in the works at the moment.

We’re working on a ‘groups’ feature, where you can create your own group around whatever topic you like, kind of like a forum but more interactive and easier to share things. Hopefully we’ll also have a 200mb upload limit soon” What about on the content side; are you looking to expand the types of content and genres of music? “Absolutely, we’re looking to expand from the core of electronic music to funk, hip-hop, jazz, rock but even outside of that we’ve been talking to podcasters and pushing talk podcasts, lectures, sports, so yeah we’re trying to increase the variety. Podcasters need a bit more encouragement to move away from iTunes, but when they see what’s possible on Mixcloud with embedding, sharing, email updates and user feedback they are slowly getting more involved” Do you see Mixcloud as a portal for upcoming DJs and podcasters to get publicity and establish a following? Is there any advice you would give to help people achieve that? “Yeah, totally, we’ve seen that already with DJs who won competitions on the site going on to build their profile and their career beyond it. Any advice? Yeah, make the first five to ten minutes of the mix really good because that’s when listeners will decide to keep listening or try something else and make sure you put in full track details, to give listeners more information which will keep them coming back” QUESTIONS FROM OUR FACEBOOK What’s going on with the 100mb upload limit is that going to change anytime soon? “We had to have some sort of limit just to control the growth, as we’d have to buy new servers all the time which costs a lot of money. It will probably be going up sometime soon, so stay tuned” Why can’t you upgrade and get more services? “Why can’t you upgrade? It’s a good question, we’ve been talking about doing pro accounts for uploaders and for listeners. To be honest it’s mainly because we’ve been so busy that we haven’t had a chance to work on it yet”

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BY LUKE SULLIVAN

O

The Man presides over the festival. The Man’s arms rest by his side for the whole week until the night he is burned.

LUKE SULLIVAN


BACK TO BURNING

MAN

“Pete!” It was past midnight in the desert, my torch had flashed over the old man’s snowy beard and there was no mistaking him – time for one final farewell. “We’re off. Next time, we want to do the trash every god-damn day!” I included the god-damn to show sincerity. “Wwwwwwell fine!” Pete faltered, guilty about taking us off trash duty in the first place. “Yeah. And we want t-shirts” Amit chipped in. “Wwwweeeeell OK!” drawled the old Arizonan. “And they can say,” he paused, “‘Sanitation Engineers’“. Sanitation Engineer – they say Burning Man is a good place to find yourself. As we said our goodbyes, we found out that 82 year-old Pete still hunts each year and once slew a boar with a bow and arrow. This was his fourteenth Burn on the trot. The story behind why we got taken off trash duty is meaningless now. As with a lot of things at Burning Man, you had to be there.

For the uninitiated, Burning Man is a week-long music/ arts festival in the Nevada desert. The circular site is five miles in diameter, and a large wooden man stands at its centre. At the end of the week he, along with many other things, is burned to the ground. The only taboos are money and worldly status. There is no buying or selling of any goods except ice (in high-demand given the temperatures) and an emergency coffee stand. Unlike other festivals, all supplies must be brought with you. This includes water, for which you should ration a gallon a day. That’s not to say there aren’t bars, but you can’t pay for the drinks. You must take what’s on offer and take it freely. Along with ‘Radical Inclusion’, ‘Radical Self-Expression’ and ‘Radical Self-Reliance’, ‘Gifting’ is one of the ten principles – you bring something to give to others, and they in turn bring something to give to you. This results in an impressive list of things coming your way – from fresh tuna Carpaccio to massages to flights over the desert to refreshing spray-downs with liquid nitrogen - it’s all free and open to anyone willing to participate. Another central

tenet of the festival is the ‘art-car’ - adapted cars, trucks, and buses are kitted out with decorations, dance floors, flamethrowers and sound systems. They roam the desert at all hours and there’s always a mobile party close to hand. The pilgrimage is long and costly. Take my journey, excluding breaks: flight from Nice to Frankfurt, flight from Frankfurt to San Francisco, fourteen hour drive into the desert. Although this final leg takes you through the Bay Area and redwood forests, it’s only once you get into the desert that a sense of epic kicks in. As the last road turns to dirt, you join a snake of vehicles shuffling ever closer to the distant dust cloud that marks Black Rock City. The desert track is three miles long although the queue often forms long before this. Arriving is in itself an achievement. We got there at night. I had spent hours cramped up in the back seat behind our long-limbed driver Danny, crushed by a stockpile of shopping bags and bottles of water. Some feel a spiritual release as they step out onto the playa; for me it was more physical. Déjà vu-like memories came drifting back as the warm air, sullied by the land, filled my lungs and I was once again reacquainted with the stale scent of the playa after two years absence. The week was spent being overwhelmed by the size of the desert and the variety of things to see; ‘How did they do that?’, ‘Why did they do that?’ and ‘How much did that cost?’ were recurring questions in my mind. Wandering and marveling without direction is a difficult topic to write about. The wonder all too easily slips into hyperbole on the page. Each day is made up of a succession of whims, often with little connection from one to the next. This jumble doesn’t fit into a narrative, and describing the creations does them little justice. Like a dream, or an art gallery, the whole thing is better experienced than explained. Ask Pete why he’s been going for fourteen years.


The walls of the temple were covered in personal messages, often to those who are no longer with us.  They are burned along with the structure in one of the more poignant moments of the festival

The temple will be burned later that evening.

Enjoying a restful morning.


This guy never set foot on the playa in anything less than his Sunday best.

Fish out of water

A genuine cinema, right on the outer edge of the playa.  Late night showings only.

Apparently you get in free if you skydive into the festival. This person’s about to find out.

The sun rises as a feather rests in the sky.

Late night at the office.  This ‘vehicle’ actually upset a few people because it reminded them too much of reality.

Even Wall Street does Burning Man.


... And didn’t disappoint.

Fire shows precede the burning of The Man

Fire crew stand ready.

‘El Pulpo Mecanico’ went through 200 gallons of gasoline every night, and over 2000 during the course of the festival - worth every drop.


You could climb inside the Trojan Horse.  One night it was pulled for three hours across the playa by hundreds of volunteers. Then they set fire to it.

The end of the Trojan Horse

Up in smoke.


JIMMY EDGAR

FUN FACT: JIMMY HAS A KNACK OF MATCHING FAKE MOUSTACHES WITH WOMEN’S UNDERWEAR.


Jimmy Edgar, born 1983, is based in Berlin. He’s an electronic musician who has more or less a body of work that was always too ahead of it’s time. He’s been on the map and strongly so since he was 16 after releases on Isophlux and Poker Flat. In early 2002 Miami’s M3rck label became aware of him and immediately released his first full-length album – ‘My Mines I’ under the ‘dual alter ego’ Kristuit Salu vs. Morris Nightingale. Two EPs on Warp Records followed. Never one to follow the rules, Edgar’s creative horizons have refused to be confined by music. As a graphic designer, photographer, and fashion designer with his own clothing label, he truly lives up to the term polymath. Upon finding out the awesome people at Awesome were interviewing Jimmy Edgar, a diarrhea of info started to make it’s way out of my mouth and into ZULI’s ear, enough for him to say “Hey, do you want to maybe do the interview?” So I am not much of a writer, but I jumped on the chance of writing the article because I knew I would be in correspondence with Jimmy. BY AHMED SAMY ALL ARTWORK BY JIMMY EDGAR


Your tracks have been labeled; ‘hot’, ‘raw’, ‘sex’, ‘turns you inside out’, ‘pushes you’, ‘like vibrations’, ‘orgasmic’ and ‘wetness causing’. What do you think; media exaggerations or actual physical truths cause by Jimmy Edgar? I’m just so surprised people actually have gotten those feeling from my music because I laced so much of it with these feelings that it always catches me off guard when people actually communicate with it. It was my intent for ‘XXX’ to be dark and sexualized but also have this mysterious quality, and that is the sexiest vibe for me.

sucked, who had ego issues, who was a disappointment, who had drinking/attitude problems…we want the dirt. I’m basically the one who had to get over my control issues. Most of those projects were my side solo projects. Plus Device was supposed to be with Josh Eustis from Telephone Tel Aviv; I let him have half the advance cause of hurricane Katrina. The girls I have worked with were possible because I couldn’t deal with egos. Steve Mason from Beta Band, we got on really well so I don’t have shit bad to say. I was the one with the drug problems, I can only take responsibility for my own actions.

What are the advantages and disadvantages of being a young electronic artist trying to break through in Detroit? You’ve got everything against you in Detroit. But I don’t like to focus on the negative; I’m interested in manifesting positivity. I am the commander of my life so aint no city gonna stop me. The up side is that there is some real true creativity coming out of decades of struggle. I grew up poor, I had to steal to eat sometimes... and I’ve already got my karmic turn around from stealing my first turntables.

Your albums; serious or tongue in check? …hard to tell. You tell me. What does it matter what I think? Unless I’m there, who cares? Explain to us the process you go through (the ethics, rules, superstitions) in your workflow. It changes, because if I feel like I’m getting in a routine, I get stale. Creativity doesn’t just appear like wind blowing in the window. You have to be in the right mindset and it starts by believing you are inspired and creative. The moment you start doubting is the moment you put a wall up in front of ideas. I’ve worked in multimillion dollar studios and I’ve made designs just as good on airplanes with a piece of shit next to me. I command my life.

You collaborated on projects with Michaux, Creepy Autograph, Plus Device, X District, Her Bad Habit, Black Affair, Almamy…among others. Who

Everyone knows Jimmy Edgar, the Electronic Music prodigy playing huge raves from a tender age, etc… we want to know some of your other ventures, we know there’s a few. I’m an accomplished fashion photographer, film director, and general multimedia artist. I am constantly drawing, writing, and keeping flow. I just shot photos and [a] music video for a remix I did of [a] new artist on Ninja Tune, Emika. Literally just finished it last night. Taking the photo or being in it? Hearing your tracks played by others, or playing other people’s tracks? Taking the photo, hearing my tracks played (because its not so often compared to the amount I am doing or performing). It’s always a surprise to me when someone recognizes me, even though I’m well known in Berlin or Detroit. Its funny to me, I still feel 19 years old. We heard you were also able to build brush fires and turn glass into sand? Haha, that’s a good one. We all have the innate power to do anything we please. The problem with societies today is they are made to tell us we are not good enough, at least America and Western culture. Not sure about the rest, but we need to encourage the children.

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GPM recently released a compilation titled last song. Have you heard of it? The premise was basically asking which song you would like to be played at your funeral… it could be anything; what would you choose? I’d like my funeral to be a fire symbolic party and of course it would be my music. It should be a celebration for life, not a depression on death. How do you feel about the current scene, about where the music’s headed? Dance music, or whatever one might call it, making its way to Middle America? Misconceptions of a culture or rather lack thereof, but on the other side, the return of Chicago/ Detroit sounds, 808’s, there’s always two sides to a coin. I want to know what Jimmy thinks of what was going on now, with all the evolving in dance music; normal changes or leading somewhere special? I don’t like to pay attention to scenes. If you notice most of the things I have released have been “not the right time” or maybe even “ahead of its time” so how could I ever pay attention to pop culture? Well, that’s wrong, I do pay attention to it... but I don’t consider it at the end of the day. You were always a…what’s the term? “Critic sweetheart” one could say during your teen years. How is it that one can maintain consistency and artistic integrity in such a quickly evolving, tough industry with many temptations? Visualistics are important to me. I’m inventing myself as a character as I release. It’s an ego thing, but I’m really quite shy. I just think that since I grew up an outsider, feeling like an alien from another planet around black people in Detroit, I thought I’d use that as therapy to accept myself more as a person and it worked to some extent. I grew up with idols like Prince, David Bowie and whatever so it’s sort of a play on their antics.

What is the one item, you can’t tour without? Quartz Crystal. I’ve toured without laptops and phones before. At the beginning of the day, I just want to meditate and manifest the day. Favorite people you’ve worked with? Probably Aux88 or Machinedrum. All three of them guys are considered great friends. Favorite track you’ve ever made? They are about to be released on Hotflush, in a few months. Shhh its secret!

Jimmy recently released ‘XXX’ and directed a music video for Emika’s new record out on Ninja Tune. He may be in love with Egypt, but isn’t performing anywhere near you soon (he actually is, but we won’t tell you when). So for the time being, enjoy Nacelle and Samba, or if you want you can do something about that. Much love, and fuck the delusional travesty of clubbing horror we call dance music in Egypt.

Digital vs. Analogue, GO! I’ve had this conversation way too many times and I always go in phases. Right now I am using a lot of modular equipment, and it’s so full. A fullness that digital does not have right now. Though, computers and DX7’s have made my favorite music... so it’s hard to say for real. Top festivals or performances this summer? I set up my installation of the new live show that I am doing in Detroit the other day, since I’m here for a few weeks. It was amazing, I’m very happy with it. And a lot of my friends in Detroit were there to see it. I just came from Mexico; I’m very into ancient culture so it was beautiful. I am excited to go to South America in a few weeks; I’ve been invited a few times but now is finally the time. A crowd that really stuck out? Serbia or Croatia. There is something about the way people look at you there. Something yearning to come out and something they equally see in you. It’s almost telepathic. Favorite DJ/ or live act? I love anyone that has something new to offer. I’m sick of the same shit always. All my love and thnx for the interview. I’ve always wanted to come to Egypt, I will make it soon.

/MUSIC OCTOBER//NOVEMBER//2011 /MUSIC /MUSIC /MUSIC /MUSIC /MUSIC /MUSIC /MUSIC /MUSIC /MUSIC /MUSIC /MUSIC /MUSIC OCTOBER//NOVEMBER//2011 /MUSIC /MUSIC /MUSI001 051/MUSIC /MU


‫بتفريغ موقع احلدث من �أى وجود لل�رشطة ف�أ�صبحت املواجهة بني‬ ‫اجلي�ش وال�شعب مبا�رشة و�أكيد الطرف التالت كان ده هدفه �إنه‬ ‫يدخل القوات امل�سلحة فى �صدام ب�شكل متكرر مع ال�شعب ‪ ،‬لكن‬ ‫�أ‪/‬خالد �شايف �إن احلدث ده مل ي�ؤثر على ثقة ال�شعب فى املجل�س‬ ‫الع�سكرى‪( ،‬بل على العك�س ال�شعب �إحرتم �أ�سلوب تعامل اجلي�ش مع‬ ‫املوقف) زى ما قال �أ‪/‬على عكا�شة اللى �أ�ضاف �إن اجلي�ش فى مواقف‬ ‫زى دى ال ميتلك طلقات حية وبتبقى �أ�سلحته فيها طلقات ف�شنك‬ ‫فقط وبالتاىل من امل�ستحيل �إنه يكون هو اللى �أطلق النار �أو ده�س‬ ‫املتظاهرين مبدرعاته لإن اللى �أطلق النار هو نف�سه اللى �رسق املدرعات‬ ‫ع�شان املوقفني دول ح�صلول ورا بع�ض وب�شكل مفاجىء وهو ما‬ ‫يتناق�ض مع طبيعة املوقف الودى بني املتظاهرين واجلي�ش قبل دقايق‬ ‫من �إطالق النار‬ ‫لكن ال�سيدة �إكرام ح�سني �أكدت �إختالفها مع فكرة �إ�ستمرار ثقة‬ ‫ال�شعب فى املجل�س الع�سكرى (اجلي�ش يوم ‪ 11‬فرباير بعد تنحى‬ ‫مبارك كان ال�شعب واثق فيه ثقة مطلقة وكان �أى فرد فى اجلي�ش‬ ‫النا�س بتقابله برتحاب �شديد لأن املجل�س الع�سكرى كان بيتعامل‬ ‫ب�شفافية وبيتجاوب مع كل حدث ب�رسعة لكن تدريجيا �أ�صبح موقف‬ ‫اجلي�ش غام�ض و�أ�صبح ال يعلن عن حقيقة ما يحدث فى م�رص‬ ‫لدرجة �إنه حتول لأ�سلوب النظام ال�سابق وبقى ي�ستخدم كلمات م�ش‬ ‫مفهوم معناها زى �أطراف خارجية والقلة املند�سة والأجندات وهى‬ ‫كلمات مطاطة متقدر�ش تفهم منها بل بالعك�س بتزود من �سخط‬ ‫ال�شعب وغ�ضبه من رجوع اجلي�ش لأ�سلوب النظام ال�سابق فى �إدارة‬ ‫املواقف)‬ ‫( كل امل�ؤ�س�سات فى الدولة ومن �ضمنها ال�رشطة و اجلي�ش بتحاول‬ ‫تغري من �أ�سلوبها فى معاجلة االزمات بعد الثورة لكن بال �شك فيه‬ ‫روا�سب من �أ�سلوب النظام ال�سابق مازالت بتحكم عمل امل�ؤ�س�سات‬ ‫دى وتغيري منهج عمل دولة بالكامل من ال�صعب �إنه يتم فى وقت‬ ‫ق�صري لكن بالت�أكيد هت�صحح كل جهة من او�ضاعها على املدى‬ ‫الطويل)الكالم لأ�ستاذ على واللى �أ�ضاف �إنه متابع�ش احلدث من‬ ‫خالل اى و�سيلة �إعالمية لأن كل و�سيلة هتنقل احلدث بالطريقة اللى‬ ‫تخدم م�صاحلها �إال عدد قليل من و�سائل الإعالم الغربية اللى بتبقى‬ ‫حري�صة على نقل احلدث ب�شكل جمرد و تكوين وجهة النظر بريجع‬ ‫ليك كمتلقى للر�سالة الإعالمية وهو نف�س الر�أى اللى �إتفقت معاه‬ ‫فيه �أ‪�/‬إكرام اللى �شافت �إن جهاز التلفزيون فى م�رص ل�سه بتتم‬ ‫�إدراته بالأ�سلوب القدمي وده اللى زود من غ�ضب ال�شعب لأنه توقع‬ ‫تغيري كبري يح�صل فى اجلهاز ده خ�صو�صا بعد �إخفاقه وعدم حياده‬ ‫فى نقل �أحداث الثورة ‪.‬‬ ‫‪053‬‬

‫(لو �س�ألت غالبية امل�سيحيني وامل�سلمني هتالقيهم غري را�ضيني عن‬ ‫�إن �أحداث ما�سبريو حت�صل حتت مربر �سخيف زى الفتنة الطائفية) ده‬ ‫ر�أى �أ‪/‬على اللى �أكد على �إن �أحداث ما�سبريو مل ت�ؤثر على العالقة بني‬ ‫امل�سلمني والأقباط لأنهم فهموا تدريجيا �إن احلدث كان املق�صود منه‬ ‫التالعب بكلمة خطرية زى القتنة لتحقيق �أهداف �شخ�صية لأفراد‬ ‫�إت�رضوا من رحيل مبارك لكن بيخالفه فى الر�أى �أ‪/‬خالد اللى �شاف �إن‬ ‫عالقة امل�سلمني بالأقباط من الطبيعى �إنها تت�أثر ب�أحداث مماثلة لأن‬ ‫العالقة ما بينهم �أ�سا�سا �ضعيفة وكل طائفة مهتمة مب�صاحلها‬ ‫اخلا�صة ومفي�ش نقطة م�شرتكة بينهم ‪( ،‬الأحداث دى ممكن ت�أثر على‬ ‫العالقة ما بينهم �أو ممكن لأ وده يتوقف على مدى وعى امل�رصيني‬ ‫بحقيقة اللى بيح�صل ) الكالم لأ�ستاذة �إكرام اللى �شافت �إن الثورة‬ ‫بريئة من الت�سبب فى �أحداث زى الفتنة �أو الفو�ضى بل بالعك�س‬ ‫الثورة كانت الفرتة الوحيدة اللى �شهدت عودة العالقات الطبيعية‬ ‫بني امل�سلمني والأقباط و�أى �أحداث فتنة ح�صلت بعد الثورة كانت‬ ‫ب�سبب الأ�شخا�ص اللى �إت�رضت م�صاحلهم من الثورة وبيحاولوا‬ ‫ت�شويهها وت�شويه �صورتها فى عيون االغلبية ال�صامتة ب�إل�صاق �أى‬ ‫حدث �أو فو�ضى بيها‪.‬‬ ‫( �أحداث ما �سبريو ممكن تتكرر ب�شكل خمتلف او يبقى ليها توابع‬ ‫فى امل�ستقبل لإن حالة البلد ت�سمح بتكرارها) الكالم لأ�ستاذ على‬ ‫واللى �إتفقت معاه فيه �أ�ستاذة �إكرام و�أ�ضافت �إن (طول ما البلد‬ ‫فى املرحلة الإنتقالية ومن غري رئي�س منتخب �أو جمل�س �شعب من‬ ‫الطبيعى �إن �أحداث زى دى حت�صل) لكن �أ�ستاذ على برياهن على قدرة‬ ‫التيار الوطنى فى م�رص من منع تكرار �أى �أحداث عنف وقال (املجل�س‬ ‫الع�سكرى �أكيد �إ�ستفاد من �أحداث ما�سبريو و�إت�أكد �إن فيه تيار خائن‬ ‫فى م�رص ومن واجبه �إنه يتعامل معاه بجدية ويتخذ �إجراءات تقلل‬ ‫من �إحتمالية حدوث �أزمات زى دى فى امل�ستقبل )‬ ‫�أ�ستاذة �إكرام �شافت �إن املجل�س الع�سكرى خ�رس جزء من ثقة ال�شعب‬ ‫امل�رصى لأنه �إمتنع عن الإعالن عن املت�سببني احلقيقيني فى �أى حدث‬ ‫يح�صل فى البلد �أو يتفاعل مع مطالب املتظاهرين وده على العك�س‬ ‫متاما من �أ�سلوبه ملا توىل حكم البلد بعد �سقوط النظام ‪.‬‬ ‫فى النهاية ‪ ،‬معظم اللى قابلتهم �أكدوا �إن توحد امل�رصيني من‬ ‫جهة وتفاعل املجل�س الع�سكرى مع مطالبهم من جهة هيوفر بيئة‬ ‫م�ستقرة وهي�ضمن جناح م�رص فى عبور الفرتة الإنتقالية‪.‬‬ ‫‪OCTOBER//NOVEMBER//2011‬‬


OCTOBER//NOVEMBER//2011


‫(ال�سبب فى �إن احلدث يت�صاعد ويتنهى بالطريقة دى �إما �أطراف‬ ‫عندها رغبة �إنها تكون فى ال�صورة على ح�ساب البلد �أو امل�سيحني‬ ‫فى اخلارج اللى �أقنعوا الأقباط فى م�رص �إن ده الوقت املنا�سب ع�شان‬ ‫يطالبوا بحقوقهم) ده كان ر�أى الأ�ستاذ على عكا�شة – ‪� 65‬سنة ‪،‬‬ ‫�أ�ستاذ على �أكد على �إن( فيه �أطراف داخلية وخارجية عايزة ت�ستبعد‬ ‫اجلي�ش من ال�ساحة فى م�رص فبتحاول تخلق �صدام مبا�رش بني اجلي�ش‬ ‫وال�شعب امل�رصى عن طريق اللعب على �أوتار الإحتقان الطائفى‬ ‫ع�شان ت�شكك فى قدرة اجلي�ش على �إدارة البلد فى املرحلة الإنتقالية)‬ ‫(�سوزان مبارك هى اللى ورا كل امل�صايب اللى بتح�صل فى البلد)‬ ‫ال�سيدة �إكرام ح�سني – ربة منزل ( ال�ست دى كل ما تروح ع�شان تزور‬ ‫جوزها �أو �أوالدها فى �سجن طره الزم بعدها يح�صل م�صيبة ‪ ،‬مرة‬ ‫ح�صل مو�ضوع الهجوم على مقرات امن الدولة وبعدين ح�صل هدم‬ ‫كني�سة �صول وبعدها حريق كني�سة �إمبابة ) الأ�ستاذة �إكرام �شافت‬ ‫�إن �أحداث زى دى من الطبيعى �إنها حت�صل فى الفرتة الإنتقالية اللى‬ ‫عاي�شني فيها حاليا لكن اللى غري طبيعى �إنها حت�صل باحلدة والعنف‬ ‫ده وب�شكل مفاجىء دون �أى مقدمات‪ ،‬خ�صو�صا �إن ال�شعب امل�رصى‬ ‫�شعب م�سامل بطبيعته وال يت�سم بالعنف �أو �إ�ضطهاد الأقليات‬ ‫داخل بلده‪.‬‬ ‫( الإعالم احلكومى بفكره التقليدى والإعالم اخلا�ص ب�أغرا�ضه‬ ‫ال�شخ�صية كانوا من اهم �أ�سباب �إ�شتعال الأزمة وزيادة تعقيدها ) ده‬ ‫كان ر�أى اال�ستاذ خالد خمتار – مدير عام ب�إحدى ال�رشكات ‪ ( ،‬ب�سبب‬ ‫الإعالم احلكومى الر�سمى �أول �إنطباع ليا عن احلدث �إن فيه هجوم‬ ‫على اجلي�ش وامل�رصيني بطبيعتهم من امل�ستحيل �إنهم يقبلوا �إن‬ ‫اجلي�ش تتهز �صورته )‬ ‫�أما �أ�ستاذ على عكا�شة فقال �إن الأقباط فى النهاية زى باقى‬ ‫امل�رصيني لهم مطالب و�شافوا �إن الثورة هتبقى الفر�صة الأكيدة‬ ‫اللى هت�ساعدهم على حتقيق املطالب دى لكن للأ�سف ب�سبب عدم‬ ‫وجود رجل الدين املعتدل والقادر على �إحتواء الأزمات ومعاجلتها �سواء‬ ‫فى امل�سجد �أو فى الكني�سة كم�ؤ�س�سات دينية ‪ ،‬كان من الطبيعى‬ ‫�إن االقباط ينزلوا ال�شارع لو ح�صل اى �سوء فهم �أو جتاوز فى حقهم‬ ‫خ�صو�صا �إن فيه م�سيحيني متطرفني زى ما فيه م�سلمني مت�شددين‬ ‫لإن حتى الأزهر فقد دوره خالل ال ‪� 30‬سنة الأخرية لكنه بيحاول �إنه‬ ‫يعالج نف�سه من الداخل ع�شان يقدر ي�سرتجع دوره امل�ؤثر والفعال‬ ‫كم�ؤ�س�سة دينية عريقة ويتفاعل مع الأحداث فى م�رص على قدر‬ ‫الإمكان ‪ ،‬لكن الأ�ستاذ خالد ال يرى الأقباط مت�ضطهدين فى م�رص‬ ‫‪055‬‬

‫و�إمنا ده نوع من املبالغة اللى تراكمت ب�سبب عدم وجود نقطة‬ ‫�إلتقاء بني امل�سلمني والأقباط اللى غالبا بيتم �أى لقاء بينهم فى‬ ‫�أوقات الأزمات فقط وب�سبب �إن ف�ساد النظام احلاكم �ساهم فى‬ ‫تهمي�ش االقباط وحتويلهم �إىل ورقة �ضغط لتحقيق م�صاحله اخلا�صة‬ ‫وللحفاظ على بقائه ‪.‬‬ ‫�أ‪/‬على قال �إنه من ال�صعب حتديد هل الأقباط م�ضطهدين �أو‬ ‫لأ لكن لو كانوا مت�ضطهدين فعال هيبقى ده ب�سبب الدولة‬ ‫وال�سلطات اللى بتديرها لأن لو كان فيه نظام حكم عادل وهدفه هو‬ ‫حتقيق تطلعات امل�رصيني �أكيد �أى م�رصى م�ش هيح�س ب�أى �إ�ضطهاد‬ ‫�أو �إن حقوقه ناق�صة لكن العالقة بني امل�سلمني والأقباط معروف‬ ‫طبيعتها فى م�رص من زمان و�أى �إحتقان طائفى ظهر فى الفرتة‬ ‫الأخرية كان جزء من الإحتقان اللى بي�شعر بيه كل امل�رصيني جتاه‬ ‫ف�ساد الأو�ضاع فى م�رص واللى نتج عنه �إهدار لكرامتهم وحقوقهم‬ ‫�سواء م�سلمني او �أقباط‪.‬‬ ‫احلكومة موقفها كان غري وا�ضح طوال فرتة االزمة وكانت من‬ ‫�ضمن �أ�سباب �إن احلدث ينتهى بال�شكل ده لإنها مل تتعامل باملرونة‬ ‫والكفاءة فى مواجهة ازمة زى دى ‪� ،‬أ‪�/‬إكرام �أ�ضافت كمان �إن‬ ‫احلكومة كان املفرو�ض ير�أ�سها �شخ�ص قادر على �إتخاذ قرارات حا�سمة‬ ‫لكن ال�سيد ع�صام �رشف رغم �إنه �شخ�ص هادىء الطباع ف�شل فى‬ ‫مواجهة �أغلب الأزمات اللى واجهته منذ �أن توىل من�صبه ‪� ،‬أ‪/‬على‬ ‫�شاف �إن احلكومة احلالية هى حكومة تقليدية وبت�شتغل ب�أق�صى‬ ‫جهد ليها واالزمة تطورت ب�شكل �أ�رسع من قدرة احلكومة على‬ ‫التجاوب وتقدمي احلكومة لإ�ستقالتها كان هيزود من حجم امل�شكلة‬ ‫وهيقلل من حجم ثقة امل�ستثمرين من �إ�ستقرار الأو�ضاع فى م�رص‬ ‫فالو�ضع فى م�رص حمتاج لهدوء و�صرب م�ش لتغيري وزارات ب�شكل‬ ‫متكرر ‪.‬‬ ‫(اجلي�ش م�ش م�ؤهل للتعامل مع �إ�شتباكات زى دى فى ال�شارع ولذلك‬ ‫كان رد فعله بي�أكد تفاجئه من تطور االحداث بالطريقة دى لإنه غري‬ ‫م�ؤهل للتعامل مع املتظاهرين لو �إ�ستخدموا العنف ) ده ر�أى �أ‪/‬خالد‬ ‫اللى وافقته فيه ال�سيدة �إكرام و�أكدت �إن وقوع �ضحايا وم�صابني‬ ‫من اجلانبني بيثبت �إن فيه طرف تالت كان معاه �سالح وتداخل مع‬ ‫املتظاهرين و�رضب طلقات نار فاجلي�ش �إعترب �إن ده �إنتهاك لكيانه‬ ‫وبالتاىل حاول يدافع عن نف�سه لكن اجلي�ش الميكن �إنه يكون ال�سبب‬ ‫فى �سقوط ال�شهداء لإنه لو كان عايز ي�رضب نار حى على املتظاهرين‬ ‫كان �رضب من يوم ‪ 25‬يناير م�ش دلوقتى ‪،‬وب�سبب قرار وزارة الداخلية‬ ‫‪OCTOBER//NOVEMBER//2011‬‬


‫كتابة ‪ :‬نهـال خـالد‬

‫يوم ‪� 9‬أكتوبر ‪ 2011‬خرج عدد كبري من الأقباط فى م�سرية‬ ‫�سلمية من منطقة دوران �شربا فى �إجتاه ما�سبريو ع�شان‬ ‫يعربوا عن غ�ضبهم جتاه �أحداث قرية املاريناب ب�إدفو فى‬ ‫حمافظة �أ�سوان واللى حدث فيها �إ�شتباكات بني امل�سلمني‬ ‫واالقباط فى القرية ب�سبب قيام امل�سيحني بتحويل جزء من‬ ‫م�ضيفة القرية �إىل مكان عبادة دائم لهم وهو االمر اللى‬ ‫�إعرت�ض عليه امل�سلمون من اهل القرية لإن عدد امل�سيحني‬ ‫املحدود فى القرية مقارنة ب�أعداد امل�سلمني فيها ال يتطلب‬ ‫بناء كني�سة م�ستقلة لهم بالإ�ضافة �إىل �إن امل�سيحني مل‬ ‫يح�صلوا على ت�رصيح للبناء ‪ ،‬لكن حتولت تلك املظاهرة‬ ‫ال�سلمية �إىل �إ�شتباكات عنيفة و�إحتكاك بني املتظاهرين‬ ‫وقوات اجلي�ش املتمركزين حول مبنى الإذاعة والتلفزيون‬ ‫( ما�سبريو) مما نتج عنه ‪ 29‬قتيل و ‪ 272‬م�صاب وفقا‬ ‫لأحدث التقارير‪ ،‬ومن بداية الأزمة حتى االّن تناف�ست قنوات‬ ‫التلفزيون وحمطات الإذاعة وال�صحف احلكومية واخلا�صة فى‬ ‫�إ�ست�ضافة املحللني ال�سيا�سيني وقيادات اجلي�ش والنا�شطني‬ ‫وحتى بع�ض الأفراد اللى �شاركوا فى التظاهرات او كانوا‬ ‫فى موقع احلدث بال�صدفة ‪ ،‬لكن �إحنا هنا بنحاول نعرف ر�أى‬ ‫امل�رصيني نف�سهم عن احلدث �أو ما يطلق عليهم الأغلبية‬ ‫ال�صامتة‪ ،‬النا�س اللى ميكن مل ت�شارك فى احلدث ب�س �أكيد‬ ‫عندها وجهة نظر و�إنطباع جتاه احلدث‪.‬‬ ‫‪OCTOBER//NOVEMBER//2011‬‬


‫ماسبريو‬ OCTOBER//NOVEMBER//2011

057


‫كتابة ‪ :‬هابي بريزداي تو يو‬

‫عشوائيات اجلزء الرابع ‪ :‬سالم يا صاحيب‬

‫ال�سذاجة حلوة لإنها بت�ساعد علي ه�ضم‬ ‫خيبة الأمل‪ .‬ب�س الكتري منها بيقلب بغباء‪.‬‬ ‫الغباء ده بيمثل للروح نف�س ال�شيء �إللي‬ ‫بيمثله القبح للج�سم‪ .‬ميكن بعد كام �سنة‬ ‫ملا �صناعة امل�أكوالت ال�رسيعة ت�سيطر متاما‬ ‫علي الب�رشية و ت�صيبها بال�سمنة ب�شكل‬ ‫مرتبط باجلينات‪ .‬ك�أن البني �آدم ك�ساللة‬ ‫«تخني» بطبيعته‪ .‬زي الفيل كدة‪.‬‬ ‫هو �أنا كنت بقول �إيه �أ�صال؟‬

‫�إقرتاح من املنتج ‪ :‬نحاول نلعب بكلمة «في�س‬ ‫بوك» يف الق�صة ب�شكل ما‪.‬‬

‫الفيلم علي �إفيه «ده م�ش جممع» �إللي‬ ‫هيقوله عادل �إمام يف �أكرت من موقف‬ ‫مكتوب بنية بروزة الكوميديا ال�صادرة من‬ ‫تلك الإفيه‪.‬‬

‫ليوناردو بردو معانا ب�س وين�سليت دي كربت و‬ ‫كرم�شت فهنجيب ميجان فوك�س‪ .‬و الق�صة‬ ‫ب�سيطة‪ .‬جاك (دي كابريو) مات و قابل‬ ‫عفريتة (فوك�س) و بيحاول يرجع بيها علي‬ ‫العربية �إللي كات يف املركب‪.‬‬

‫هل هينجح؟‬

‫تايتانيك تو ‪:‬‬

‫لأ‪ ...‬ب�س لو الولد الكاتب عمل ور�شة مل فيها‬ ‫�أفكار من كام عيل هلف من بتوع الإئتالفات‬ ‫و الفلوالت دول‪ ...‬ممكن عادل �إمام يقول‬ ‫مونولوج طويل فيه معني مزدوج بيعتذر فيه‬ ‫عن م�ساندته للنظام ال�سابق املخلوع املهزوم‬ ‫الطاغي اللدود‪.‬‬

‫م�ش مهم‪ .‬تعالو نتكلم يف الأجزاء التانية‬ ‫للأفالم‪.‬‬

‫�رشط ليوناردو الوحيد ‪ :‬تبديل �سيلني ديون‬ ‫بليدي جاجا علي ال�ساوند تراك‪.‬‬

‫معظم الأفالم الناجحة بيتعملها جزء تاين‪.‬‬ ‫زي بامتان‪ .‬و ماتريك�س‪ .‬و بخيت و عديلة‪.‬‬

‫بيبيز دي �أوت ‪ : 2‬بيبز ديه �إن‬

‫لو حد �رسق مني فكرة‪...‬‬

‫نف�س الطفل احلبوب (قال يعني ماكرب�ش‬ ‫من �ساعتها)‪ .‬ب�س جوا البيت‪ ...‬و حرامية‬ ‫خمتلفني‪ ...‬ممكن جنيب �إللي زي ح�سن ح�سني‬ ‫من عندهم ب�س تالتة‪.‬‬

‫هي�صعب عليا‪.‬‬

‫�سيبك من دول‪ ...‬تعالو بقي نتكلم يف الأفالم‬ ‫�إللي كان ممكن يبقي ليها �أجزاء تانية‪.‬‬ ‫مديري اجلديد علمني �آ�آجي خمل�ص ال�شغل‬ ‫كله و ماقعد�ش �أرمي �أفكاري يف الهوا ف�أنا‬ ‫هنفذ و �أقرتح و�ش كدة‪.‬‬ ‫في�س �أون ‪ :‬في�س �أوف اجلزء التاين‬ ‫ترافولتا و نيكوال�س كيدج هيدجمو و�شهم‬ ‫يف و�ش بع�ض ع�شان يعمل و�ش تالت‬ ‫هيلب�سوه لواحد رابع و كلهم هيجرو ورا‬ ‫بع�ض‪.‬‬ ‫‪059‬‬

‫�أنا قررت �أكتب �شعر‪ .‬ده �أول ‪ 8‬بيوت وال �أبيات‬ ‫�شعر �أكتبهم يف حياتي‪.‬‬

‫هوم �ألون فر�س�س بيبيز ديه �أوت‪.‬‬ ‫ال�سيناريو وا�ضح‪.‬‬

‫«القلب �إغتني‪ ...‬و العقل �إفتقر‪...‬‬ ‫و �إمتلك ال�شك بي‪...‬‬ ‫كيف يبدو الربجر من وجهة نظر البقر‪...‬‬ ‫يبدو كما تبدو �شهواتي يل‪»...‬‬

‫الإرهاب و الكباب اجلزء التاين ‪ :‬م�ش جممع‬

‫�إن�رصاف يا برين�س‪.‬‬

‫كا�شااااااات �أوي‪.‬‬

‫نف�س الق�صة بالظبط‪ .‬ب�س هيعتمد جوهر‬ ‫‪OCTOBER//NOVEMBER//2011‬‬


GEOLOGICAL TIME SCALE BY WIKIPEDIA

THE GEOLOGIC TIME SCALE provides a system of chronologic measurement relating stratigraphy to time that is used by geologists, paleontologists and other earth scientists to describe the timing and relationships between events that have occurred during the history of the Earth.

EACH ERA ON THE SCALE IS SEPARATED FROM THE NEXT BY A MAJOR EVENT OR CHANGE.

Geologists qualify these units as Early, Mid, and Late when referring to time, and Lower, Middle, and Upper when referring to the corresponding rocks.

THIS Evidence from radiometric dating indicates that the EARTH IS ABOUT 4.570 BILLION YEARS OLD. The geological or deep time of Earth’s past has been organized into various units according to events which took place in each period. Different spans of time on the time scale are usually delimited by major geological or paleontological events, such as mass extinctions. For example, the boundary between the Cretaceous period and the

CLOCK

REPRESENTATION

SHOWS SOME OF THE MAJOR UNITS OF GEOLOGICAL TIME AND DEFINITIVE EVENTS OF EARTH HISTORY. THE HADEAN EON REPRESENTS THE TIME BEFORE FOSSIL RECORD OF LIFE ON EARTH; ITS UPPER BOUNDARY IS NOW REGARDED AS 4.0 GA. OTHER SUBDIVISIONS REFLECT THE EVOLUTION OF LIFE; THE ARCHEAN AND PROTEROZOIC ARE BOTH EONS, THE PALAEOZOIC, MESOZOIC AND CENOZOIC ARE ERAS OF THE PHANEROZOIC EON. THE TWO MILLION YEAR QUATERNARY PERIOD, THE TIME OF RECOGNIZABLE HUMANS, IS TOO SMALL TO BE VISIBLE AT THIS SCALE.

For example, the Lower Jurassic Series in chronostratigraphy corresponds to the Early Jurassic Epoch in geochronology. The adjectives are capitalized when the subdivision is formally recognized, and lower case when not; thus early Miocene but Early Jurassic. Geologic units from the same time but different parts of the world often look different and contain different fossils, so

History of the Time Scale & Names Diagram One

the same period was historically given different names in different locales. For example, in North America the Lower Cambrian is called the Waucoban series that is then subdivided into zones based on succession of trilobites.

In East Asia and Siberia, the same unit is split into Alexian, Atdabanian, and Botomian stages. A key aspect of the work of the International Commission on Stratigraphy is to reconcile this conflicting terminology an d define universal horizons that can be used around the world.

(continued on facing page)

Diagram Two Animation showing Earth's palaeogeographic reconstruction beginning from early Cambrian period.

Paleogene period is defined by the Cretaceous–Tertiary extinction event, which marked the demise of the dinosaurs and of many marine species.

OLDER PERIODS WHICH PREDATE THE RELIABLE FOSSIL RECORD ARE DEFINED BY ABSOLUTE AGE.

TERMINOLOGY The largest defined unit of time is the supereon, composed of eons. Eons are divided into eras, which are in turn divided into periods, epochs and ages. The terms eonothem, erathem, system, series, and stage are used to refer to the layers of rock that correspond to these periods of geologic time.

The geological time scale, where the past is toward the bottom of the spiral.

OCTOBER//NOVEMBER//2011

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In classical antiquity, ARISTOTLE saw that fossil seashells from rocks were similar to those found on the beach and inferred that the fossils were once part of living animals. He reasoned that the positions of land and sea had changed over long periods of time. Leonardo da Vinci concurred with Aristotle›s view that fossils were the remains of ancient life.

The 11thcentury Persian geologist AVICENNA (IBN SINA) examined various fossils and inferred that they originated from the petrifaction of plants and animals. He also first proposed one of the principles underlying geologic time scales: the law of superposition of strata. While discussing the origins of mountains in The Book of Healing in 1027, he outlined the principle as follows: It is also possible that the sea may have happened to flow little by little over the land consisting of both plain and mountain, and then have ebbed away from it. ... It is possible that each time the land was exposed by the ebbing of the sea a layer was left, since we see that some mountains appear to have been piled up layer by layer, and it is therefore likely

that the clay from which they were formed was itself at one time arranged in layers. One layer was formed first, then at a different period, more layers were formed and piled, upon the first, and so on. Over each layer there spread a substance of different material, which formed a partition between it and the next layer; but when petrification took place something occurred to the partition which caused it to break up and disintegrate from between the layers [possibly referring to unconformity]. ... As to the beginning of the sea, its clay is either sedimentary or primeval, the latter not being sedimentary. It is probable that the sedimentary clay was formed by the disintegration of the strata of mountains. Such is the formation of mountains.

Later in the 11th century, the Chinese naturalist, SHEN KUO (1031–1095), also recognized the concept of deep time.

The principles underlying geologic (geological) time scales were later laid down by NICHOLAS STENO in the late 17th century. Steno argued that rock layers (or strata) are laid down in succession, and that each represents a “slice” of time. He also formulated the law of superposition, which states that any

given stratum is probably older than those above it and younger than those below it. While Steno›s principles were simple, applying them to real rocks proved complex. Over the course of the 18th century geologists realized that: 1. Sequences of strata were often eroded, distorted, tilted, or even inverted after deposition; 2. Strata laid down at the same time in different areas could have entirely different appearances; 3. The strata of any given area represented only part of the Earth’s long history.

The first serious attempts to formulate a geological time scale that could be applied anywhere on Earth were made in the late 18th century. The most influential of those early attempts (championed by ABRAHAM WERNER, among others) divided the rocks of the Earth’s crust into four types: Primary, Secondary, Tertiary, and Quaternary. Each type of rock, according to the theory, formed during a specific period in Earth history. It was thus possible to speak of a Tertiary Period as well as of Tertiary Rocks. Indeed, Tertiary (now Paleocene Pliocene) and Quaternary (now Pleistocene and Holocene) remained in use as names of geological periods well into the 20th century.

OCTOBER//NOVEMBER//2011

The Neptunist theories popular at this time (expounded by Werner) proposed that all rocks had precipitated out of a single enormous flood. A major shift in thinking came when JAMES HUTTON presented his Theory of the Earth; or, an Investigation of the Laws Observable in the Composition, Dissolution, and Restoration of Land Upon the Globe before the Royal Society of Edinburgh in March and April 1785. It has been said that as things appear from the perspective of the twentieth century, James Hutton in those reading became the founder of modern geology. Hutton proposed that the interior of the Earth was hot, and that this heat was the engine which drove the creation of new rock: land was eroded by air and water and deposited as layers in the sea; heat then consolidated the sediment into stone, and uplifted it into new lands. This theory was dubbed Plutonist in contrast to the flood-oriented theory.

The Identification of Strata by the Fossils They Contained,

pioneered by WILLIAM SMITH, GEORGES CUVIER, JEAN D’OMALIUS D’HALLOY, and ALEXANDRE BROGNIART in the

early 19th century, enabled geologists to divide Earth history more precisely. It also enabled them to correlate strata across national (or even continental) boundaries. If two strata (however distant in space or different in composition) contained the same fossils, chances were good that they had been laid down at the same time. Detailed studies between 1820 and 1850 of the strata and fossils of Europe produced the sequence of geological periods still used today. THE PROCESS WAS DOMINATED BY BRITISH GEOLOGISTS, AND THE NAMES AOF THE PERIODS REFLECT THAT DOMINANCE: THE CAMBRIAN, (the Roman name for Wales) and THE ORDOVICIAN, and SILURIAN, named after ancient Welsh tribes, were periods defined using stratigraphic sequences from Wales. THE DEVONIAN was named for the English county of Devon, and the name Carboniferous was simply an adaptation of the Coal Measures, the old British geologists’ term for the same set of strata. THE PERMIAN was named after Perm, Russia, because it was defined using strata in that region by Scottish geologist Roderick Murchison. However, some periods were defined by geologists from other countries. THE TRIASSIC was named in 1834 by a German geologist

Friedrich Von Alberti from the three distinct layers (Latin trias meaning triad) - red beds, capped by chalk, followed by black shales - that are found throughout Germany and Northwest Europe, called the Trias. THE JURASSIC was named by a French geologist Alexandre Brogniart for the extensive marine limestone exposures of the Jura Mountains. THE CRETACEOUS (from Latin creta meaning “chalk”) as a separate period was first defined by Belgian geologist Jean d’Omalius d’Halloy in 1822, using strata in the Paris basin and named for the extensive beds of chalk (calcium carbonate deposited by the shells of marine invertebrates).

British geologists were also responsible for the grouping of periods into Eras and the subdivision of the Tertiary and Quaternary periods into epochs. When William Smith and Sir Charles Lyell first recognized that rock strata represented successive time periods, time scales could be estimated only very imprecisely since various kinds of rates of change used in estimation were highly variable. While creationists had been proposing dates of around six or seven thousand years for the age of the Earth based on the Bible, early ge-

ologists were suggesting millions of years for geologic periods with some even suggesting a virtually infinite age for the Earth. Geologists and paleontologists constructed the geologic table based on the relative positions of different strata and fossils, and estimated the time scales based on studying rates of various kinds of weathering, erosion, sedimentation, and lithification. Until the discovery of radioactivity in 1896 and the development of its geological applications through radiometric dating during the first half of the 20th century (pioneered by such geologists as Arthur Holmes) which allowed for more precise absolute dating of rocks, the ages of various rock strata and the age of the Earth were the subject of considerable debate.

The first geologic time scale was eventually published in 1913 by the British geologist ARTHUR HOLMES. He greatly furthered the newly created discipline of geochronology and published the world renowned book The Age of the Earth in which he estimated the Earth’s age to be at least 1.6 billion years. In 1977, the Global Commission on Stratigraphy (now the International Commission on Stratigraphy) started an effort to define global references (Global Boundary Stratotype Sections and Points) for geologic periods and faunal stages. The commission’s most recent work is described in the 2004 geologic time scale of Gradstein et al. A UML model for how the timescale is structured, relating it to the GSSP, is also available.

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Skrillex is: • A Dubstep GOD [0] • The product of sexual intercourse between a hobbit and an orc [15] • The product of sexual intercourse between Corey Feldman and Amy Lee [18] • An Emo kid who knows dick about dance music and merged the worst out of Steve Aoki and Deadmau5 [20] • A young Emo Danny DeVito [15] • A bellend [20] Nicolas Cage is swag because…. • He’s bald and not bald at the same time [15] • His last name is Cage [15] • He passed on The Wrestler so Mickey Rourke could “eat” (google it) [20] • Con Air yad menak loh…. [20] • Yaaad face-off yaaaaad….[20] • It’s a trick question [10] Music is divided into Genres because… • People can’t decide for themselves what it is they are listening to [18] • It sells clothes and lifestyle products better [20] • Musicians are anal. The front door is too direct of a route to them [10] • Musicians are anal. They hurt a little… then do something unbelievable [15] • They help define you socially. Especially those retarded made-up ones with the word ‘post’ in them. (posthouse, post-hardcore, post-progressive, post sa7peti 3ala khadaha) [0] Bloggers are… • Visionaries [0] • The Voice Of Our Generation [0] • Saviors [0] • Regular people [20] Cairo’s traffic gets worse by the day because… • Overpopulation [15] • Overspeculation [18] • Overdrive [20] • The streets get smaller everyday because of thermal asphalt contraction [20] • The illuminati [0] Arabs don’t like Arabic rap because… • It sounds weird [0] • Some rappers pronounce the words like they are living in the days of the gaheleyya (like they straight outta Quraysh) [20] • MTM [20] • It’s not in English [0] • They’ve never listened to it with an open mind [20] People want to lose weight… • To be healthy [0] OCTOBER//NOVEMBER//2011

• To be active [0] • To be interactive [20] • To look like el wad beta3 Twilight aw el bet bta3et Twilight [20] • Because escorts are pricy [20] You like DJ Samba because: • Your friends like him [0] • I don’t like DJ Samba [20] Your friends like him because: • He’s good (denial) [0] • He plays music they know (familiarity) [20] • His crisp golden brown wavy locks attract them mysteriously or mysteriously attract them (sex appeal) [15] • He’s been playing at Tijuana - Agami since 1895 (shelf life) [20] • He plays at Tamarai (social elitism) [20] • He remixed ‘sout el horreya’ (pseudopatriotism) [20] • He collaborated with a foreign singer (espionage) [15] We think you’re a douche because: • You wear a Bluetooth head-set [20] • You like John Mayer [20] • You enjoy wearing designer shirts [20] • You like Coldplay [15] • You got the moves like Jagger [18] • You got those annoying lights installed in your car (zinon?) [20] Fist Bumping is cool because: • The obligatory kiss on cheek is forced and imposing [20] • Some people don’t wash their hands after they go to the toilet [12] • Black people do it [20] • It makes you feel like a power ranger [20] • It’s good practice for fisting [2] Which of these songs from Coldplay’s new album Mylo Xylophono is your favorite: • Hurts Like Heaven [0] • Us Against The World [0] • Up In Flames [0] • Every Teardrop Is A Waterfall [0] • Every Sigh Is A Tornado [20] • Every Orgasm Is A Tsunami [20] • Major Minus [0] • Minus Major [10] • Major Minor [15] • Major E-7th [18] • Minor Pentatonic [18]

Grade = (Score/240)*100 100+.................... Awesome 80-100............................ Cool 40-80................... Commoner 0-40............... Lamestreamer

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ARE YOU AWESOME?

OCTOBER//NOVEMBER//2011

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•AWESOMEMAG.TUMBLR.COM •@AWESOMEEGYPT•ISSUU.COM/AWESOMEMAGAZINE•MIXCLOUD.COM/ AWESOMEMAG •FACEBOOK.COM/AWESOMEMAG

‫هذا االصدار غري دوري‬


Awesome 005 - October/November 2011