Alley in Cairo

Hasan Sulayman (b. 1928), Alley in Cairo (1955)

Remembrance of Readings Past

I was a bookish child, and spent endless hours immersed in fantastic stories, tales peopled with strange and wonderful characters getting themselves into all sorts of ill-advised but oh-so-exciting adventures. On my eighth birthday, Baba bought me a stack of stories from Dar al-Maa’ref’s venerable Awladna series, a collection that has shaped untold generations of young readers. Books in the series include translations of world classics such as Ivanhoe, Don Quixote, and Tom Sawyer; abridged Arabic classics; and generic stories of indeterminate origin such as ‘Am Ni’na’ (Uncle Mint), a charming homily about a beloved neighbourhood stationer-cum-wise man whose shop turns into an agora for the local children to mingle and learn the values of truth, honest hard work, and good citizenship.

Now, riffling through my Awladna books after so many years, I’m struck by the unmistakable Platonic thrust of the series’ founding statement, issued in March 1947: “It is no secret that the life of the mind is the firmest pillar of happiness. Our love for our children compels us to pave for them the paths to this happiness by endearing them to the good book, so that they can seek it out as youngsters and become attached to it as adults, thus building the bonds of a firm friendship that sharpens their sentiments and emotions, refines their tastes, develops their talents, and endows them with a loftiness of soul.” The project of building young minds through stories was entrusted to none other than leading Egyptian pedagogue Muhammad Farid Abu Hadid (1893-1967), Dean of the Education Institute in Cairo and himself a prolific author of historical novels and translator of major works of world literature into Arabic.

I consumed the Awladna stories in quiet corners of my parents’ and grandparents’ apartments, while the rest of the family children played and ignored me. There was one particular story that riveted me entirely, that I read over and over again to revel in its menagerie of wondrous characters and the irrepressible insouciance of its lead protagonist. Pinocchio was like nothing I’d ever read before. It had movement, suspense, and more emotional drama than I could handle. I was enthralled by the story’s talking crickets, chicks, goats, and birds, by Pinocchio’s cap made of dough, and most of all by the kindly and trusting Geppetto. I teared up at all the pain he suffered on account of his errant, ungrateful little tyke. I couldn’t understand how Pinocchio could so blithely hurt his poor old father like that.

I open the book now and the same sense of palpable foreboding washes over me, the constant sense of dread at Pinocchio’s errant ways, from the first minute when he detours from school to see the Marionette Theatre to his ignominious metamorphosis into a donkey to his being swallowed up by the asthmatic shark. But then I remember that the story has a sweet, happy ending. Pinocchio learns his lesson and changes his ways, landing gainful employment and succeeding in the studies he had neglected. As a reward, he turns into a real boy and Geppetto grows younger and returns to his craft of wood carving. And all is well with the world.

For a brief spell, school reading nourished my imagination. Like so many of my contemporaries, I grew up on the two didactic props of the Ministry of Education: the smug Omar and his silly little sister Amal. Amal struck me as pathetic and annoying, imitating everything that her older brother did.

Omar was an insufferable know-it-all who inexplicably wore a skirt to school. I didn’t like how he knew everything and she was the buffoonish tag-along; it offended my sensibility as a serious girl (quite). Still, I was fascinated by their world, and still remember quirky things from the book: their friend’s name “Nargis”, a girl’s name I’d never heard before; their class visit to the consumer cooperative, which I envied because I heard adults talking about buying this or that from al-gam’iyya, but I didn’t know what a gam’iyya was; and their trip to the village, where Omar’s equally smug friend Ashraf informs us that the white egret is “the fellah’s friend” because he eats up all the worms in the fields.

Though the Awladna stories formed the core of my reading, I had catholic tastes. I read anything I could get my hands on to fill the hours of summer ennui, including snippets of newsprint and I consumed the frilly stories of al-Maktaba al-Khadra, but the fairy tales full of princesses and princes dressed up in fussy outfits eventually bored me. I read slim volumes of scriptural stories made for children that supplied the narrative details missing in the Qur’an’s elliptical exposition. I still remember the feeling of horror at the bloodshed in the story of Qabil and Habil; the evocative detail of the notable ladies of the city distractedly slicing their hands instead of the fruit as they sat transfixed by Yusuf’s breathtaking beauty (I kept trying to imagine what he looked like); and the story of Yunus being swallowed up by the whale, which terrified me. I kept wondering how he could breathe in there.

Kamel al-Kilani’s (1897-1959) stories were fun, especially the ones adapted from Alf Layla. I didn’t know anything about the author, except that my father grew up on his stories. I didn’t know that Kilani was a lifelong clerk in the Awqaf Ministry and an avid lover of literature, and that he is now considered the pioneer of Arabic children’s literature. I just liked the alliteration in his name, and the fact that all his books contained diacritical marks, so I could pronounce the words properly. I remember the whimsical, humorous tale of the hapless ‘Umara, a story that unfolds over seven days. ‘Umara is a lazy ne’er-do-well of unbelievable stupidity. He gets kicked out of school, and then his mother threatens to kick him out of the house if he doesn’t secure gainful employment. On his quest, ‘Umara quite accidentally brings laughter to a depressed sultan’s daughter; the sultan of course rewards him handsomely, and ‘Umara marries the princess and eventually assumes the throne, “and he ruled the land with justice.”

I gradually moved on to more contemporary fare, and distinctly remember one summer being entirely taken up with detective stories. My favourite were the five adventurers, a monthly series whose utterly ridiculous premise did not in the least faze me: five upper-class kids from Maadi helping to solve knotty and dangerous crime cases, with the enthusiastic cooperation of the local police station, no less. I obsessively collected their books, visiting the newspaper stand every month to get the latest. Those of a certain age will remember that the quintet consisted of Takhtakh, the portly but really smart ringleader who had superior deductive powers; the siblings Atef and Loza and the twins Noosa and Moheb, and the beloved dog Zangar. In an utterly self-flattering manner, I identified strongly with Loza, the youngest member of the crew and the smartest after Takhtakh. She was energetic, cute, and such an excellent sleuth. Plus, she was brave. When she was kidnapped by some ruthless criminals, she weathered the experience with grit and aplomb.

This was all very attractive and convincing to me, apparently, and I whiled away the hours consuming the fast-paced, thrilling adventures of the fabulous five. They spent their summer vacations pursuing dangerous criminals and sophisticated organised gangs (gasp!), while I spent summer vacations filled with crushing boredom. They put themselves in real danger, going undercover as street children and thugs to consort with the shadowy figures of the Maadi underworld. And they amassed valuable clues simply by engaging in systematic, logical thinking (the unsubtle moral of all the stories). In their downtime, the sleuths had a love-hate relationship with the grouchy Shaweesh Ali, who found them annoying (who wouldn’t?), but they enjoyed the enthusiastic support of Inspector Sami, an influential detective who always wore dark glasses and said things like “What I admire about you is that you are bold adventurers and diligent students at the same time.” Not only that, but Takhtakh had unmediated access to Inspector Sami, often phoning him on his direct line to offer clever advice and tips.

I flip through the books of my childhood, and find that they still grip, delight, and stimulate me. They taught me the beauty of words, the magic of imagination, the virtues of concentration, and the love of all that is quirky, unlikely, astonishing.

Charles Rodriguez & His Psychedelic Organ

It took me months to find Charles Rodriguez but I eventually did. "Samy, I found the guy you are looking for..... what his name again?" On the other end of the line the legendary Melome Clement. "We all knew him, he use to hang at our concerts all the time, but i didn't know his name."
About a year earlier I had bumped into a strange looking single. Strange because it was released with a Decca label Sticker but for another label named Alofty Music, which apparently was a shop in Lagos. I had never heard of that Label before and no one in Nigeria had ever heard of that shop...obscurity was total. The two sides of that single are quite similar, while most prefere Side.1 I had fallen in love with the flip Side, "L´amour ne s´achetes pas" (You can´t buy Love) and its amazing Organ Solo (Listen Below)

Melome and myself took a commuter to Ouidah on the very next morning and met the guy that I have been searching for so long. At the entrance a sign board saying "Bar Charlie". A very happy chap, warmly welcomed us:

"You Know Samy, This Bar use to be hot. I am from a highly regarded family so all the heavy guys who wanted a rest in Ouidah, came here for a drink or two. Politicians use to spend their nights sleeping here on the terrace, under the palm trees with their "maitresse". But then everything came to a halt when I had a very severe car accident. I was in a coma for 13 days and had to stay 8 months at Boni hospital. I had saved Three millions CFA, its all gone now. They even cut the light because I couldn't pay my bill."

Charles lived on a very nice parcel of land, on it, two beautiful old houses. He showed us around. We entered one large room painted in a light green, on the ground, carefully laid against the wall, picture frames. Photos of the deceased relatives of the Rodriguez family. In front of the central picture, old brandy bottles, fruits, candles and some other bizarre stuff. I suddenly realize I was in a shrine.



"This is the picture of my grand grand father, Joachin Jacintho Rodriguez, he is buried here. He was a Portuguese trader, he used to ship slaves to Portugal and other european regions. He also had huge lands in Porto Novo, that area is today the center of the town and still carries his name, Jasin. My father was a renown doctor in this region, Fernando Candido Fernandez. We used to be a highly influential family around here so I´m sure you can imagine the reaction when they found out I wanted to be a singer. You will become a dagga smoker, you will be a beggar etc, It was very discouraging. I still believe my family betrayed me. I´m sure that I would have reached something with music.

I started my musical career in ´58 or ´59. At that time Nel Oliver, a friend, was playing with the Daho Jazz Orchestra at the Cheklebo Bar In Cotonou, so I joined him as a vocalist. Few month later I joined a Zairian band, Los Cubano Fiesta which was a Rumba band. We traveled to Lomé in the early 60´s and from there further to Abidjan in the Ivory Coast, I later moved to Accra where I formed a band called Ufredas, I was the bass player. At that time Ignace de Souza and his legendary Black Santiagos were the resident band of the Ring-way Hotel in Accra, I teamed up with them and we moved to Abidjan. I stayed with Ignace till late into the 60s and then decided to come back home. All I found was angry family members telling me "you are the son of the Rodriguez, an Agouda (portuguese ancestry), no no no its not possible, you are spoiling our family's name", this and that."



"I had time to do few more recordings with El Rego before I eventually gave up under the parental pressure. El rego had a club, Le playboy. (when I tell him that he still has it but its now a horehouse - "Un Bordel" - and that El Rego goes there every Tuesday to collect his money, He burst into laughter) Oh really he still has it? I didn't know that. Anyway I did some "chansons Francaises" and he backed me with his band Les Commandos. I was performing with them at the club when I was approached by the owner of the Alofty label based in Lagos. He loved my voice and asked me if I would like to record something for him. I agreed. so we formed a band which were composed of some artist from here and some members of the EKs, a Nigerian band. We practiced for a month and in August ´73 we recorded four Afrobeat tracks which were recorded in a house with a reel to reel recorder. I sang and played the Organ on all four. The music was distributed by Decca"

"In the track "L´amour ne s´achete pas" I´m telling prostitutes to stop drinking and sleeping with men for 2000 or 3000-CFA per day, thats they are wasting their lives. Oh Man, when that song was released I got in all kinds of trouble with the hores of Cotonou, they gave me hard times, but i didn't care..........thats it, that was my last recording." (S)
Charles Rodriguez, Ouidah July 12th, 2006



1.L´AMOUR NE S´ACHETE PAS LISTEN HERE

House Passes 15% Renewable Energy by 2020

The United States House of Representatives has passed an Energy Bill requiring utility companies to produce 15 per cent of their electricity from renewable sources such as wind and solar power by 2020.

The Bill passed in the House on a 241-172 vote, despite strong opposition from electric utility companies and the White House, which has threatened to veto the measure. Twenty six Republicans voted in favor and nine Democrats opposed the bill.

A senior analyst for Lazard Capital Markets described the bill as "a significant positive step towards creating a cohesive energy policy."

The renewable electricity standard applies only to investor-owned utilities and exempts rural electric cooperatives, municipal utilities, the Tennessee Valley Authority and the state of Hawaii from the mandate.

The bill also calls for stronger energy efficiency standards for appliances and lighting and incentives for building more energy-efficient buildings. The bill bans the sale of 100-watt incandescent light bulbs by 2012 and requires that all bulbs be 300% more efficient than today’s ordinary bulbs by 2020. The bill also includes a range of loan guarantees, federal grants and tax breaks for alternative energy programs. These include building biomass factories, research into making ethanol from wood chips and switch grass and producing better batteries for hybrid cars.

The bill will repeal a tax break for oil companies from 2004, and another tax break relating to income from foreign oil production. Critics of the two tax breaks called them loopholes that the industry had taken advantage of.

The 786-page House energy bill does not include an increase in fuel-efficiency standards for cars and light trucks. That issue, as well as whether to force major increases in the use of E85 fuel as a substitute for gasoline, were left to be negotiated when the House bill is merged with energy legislation the Senate passed in June.

"There's a war going on against energy from fossil fuels" said Representative Ralph Hall, Republican-Texas. Representative Joe Barton predicted the bill "isn't going to go anywhere" because President Bush would veto it if it reaches his desk.

In a somewhat surprising comment from the White House, they accused the bill of making "no serious attempts to increase our energy security". This defies commonsense as by producing more electricity from domestic renewable sources rather than with imported natural gas by definition increases the United States' diversity and security of energy supply.

As with all legislation the details (such as a subsidy for installing gas pumps for expensive and inefficient E85 fuel) need to be checked carefully. Regardless a 15% renewable energy standard is good news.

House Passes 15% Renewable Energy by 2020

The United States House of Representatives has passed an Energy Bill requiring utility companies to produce 15 per cent of their electricity from renewable sources such as wind and solar power by 2020.

The Bill passed in the House on a 241-172 vote, despite strong opposition from electric utility companies and the White House, which has threatened to veto the measure. Twenty six Republicans voted in favor and nine Democrats opposed the bill.

A senior analyst for Lazard Capital Markets described the bill as "a significant positive step towards creating a cohesive energy policy."

The renewable electricity standard applies only to investor-owned utilities and exempts rural electric cooperatives, municipal utilities, the Tennessee Valley Authority and the state of Hawaii from the mandate.

The bill also calls for stronger energy efficiency standards for appliances and lighting and incentives for building more energy-efficient buildings. The bill bans the sale of 100-watt incandescent light bulbs by 2012 and requires that all bulbs be 300% more efficient than today’s ordinary bulbs by 2020. The bill also includes a range of loan guarantees, federal grants and tax breaks for alternative energy programs. These include building biomass factories, research into making ethanol from wood chips and switch grass and producing better batteries for hybrid cars.

The bill will repeal a tax break for oil companies from 2004, and another tax break relating to income from foreign oil production. Critics of the two tax breaks called them loopholes that the industry had taken advantage of.

The 786-page House energy bill does not include an increase in fuel-efficiency standards for cars and light trucks. That issue, as well as whether to force major increases in the use of E85 fuel as a substitute for gasoline, were left to be negotiated when the House bill is merged with energy legislation the Senate passed in June.

"There's a war going on against energy from fossil fuels" said Representative Ralph Hall, Republican-Texas. Representative Joe Barton predicted the bill "isn't going to go anywhere" because President Bush would veto it if it reaches his desk.

In a somewhat surprising comment from the White House, they accused the bill of making "no serious attempts to increase our energy security". This defies commonsense as by producing more electricity from domestic renewable sources rather than with imported natural gas by definition increases the United States' diversity and security of energy supply.

As with all legislation the details (such as a subsidy for installing gas pumps for expensive and inefficient E85 fuel) need to be checked carefully. Regardless a 15% renewable energy standard is good news.

The Art of Ibrahim Aslan

Since he emerged on the literary scene in the mid-1960s with his elliptical, allusive, deceptively simple short stories that deeply impressed culture mavens Naguib Mahfouz, Latifa al-Zayyat, and Salah Abdel Sabbour, Ibrahim Aslan has been elaborating and perfecting a genre all his own. Mixing fiction with autobiography, short story conventions with novelistic forms, poetic economy with dramaturgical composition, Aslan’s art is a precious, wondrous creation. He has the poet’s ear for language, the painter’s feel for texture, the composer’s sense of movement, the layperson’s love of humour, and the photographer’s knack for finding the magic in the mundane.


Aslan’s latest work, Shay’un Min Hadha al-Qabil (Something like That), is a collection of the author’s terse and evocative columns in al-Ahram and al-Karama written in the past two years. Reading them once a week among the grim fare of news and opinion was like a breath of fresh air, a momentary flash of mystery and beauty amidst mind-numbing ugliness. But reading them in succession in a single volume is a more intense, absorbing experience, inviting contemplation of just what it is that makes Aslan’s writing perennially fresh, profound, and pleasurable.

Aslan is by far my favourite writer among his contemporaries. While very readable, Sonallah Ibrahim’s work is highly cerebral and lacks beauty (with the exception of his latest oeuvre). Baha’ Taher has become too transparently didactic and self-conscious in his writing, Khairy Shalabi’s storytelling is exuberant but unrestrainedly verbose and showy, Gamal al-Ghitani’s prose is too opaque and impenetrable, and reading Edwar al-Kharrat is grim work, what with all of his avant-garde philosophising. Mohamed El-Bisatie’s writing comes closest to Aslan’s poetic power and economical style, but his fixation on village life over-relies on predictable themes and characters.

Like his contemporaries, Aslan conceives of writing as a medium to communicate with and prod the reader, but unlike many of them, his writing has a very light, ethereal touch while still making a profound impression. He does not moralise or philosophise, nor does he use writing simply to experiment with technique or engage in word play. He doesn’t write to shock or condemn or complain. He writes for the same reason a painter puts brush to canvas or a composer puts pencil to music paper: to give form to some inchoate thought or inspiration and to share it with others. From his first published collection of short stories Buhayrat al-Misa’ (Evening Lake, 1971) to his present collection of vignettes, Aslan’s sources of inspiration have been Melete and Mneme, the muses of meditation and memory.

As with his vignettes in Khulwat al-Ghalban (Poor Man’s Hermitage, 2003), the 34 meditations in Shay’un Min Hadha al-Qabil (the title comes from an obiter dictum on p. 63) draw on Aslan’s memories from childhood and his early working life, as well as his quotidian interactions with peers, acquaintances, and neighbours. There are sketches of cultural figures Yahya Haqqi, Naguib Mahfouz, Mohammad Auda, and George Bahgoury, visits to St. Petersburg and Dostoevsky’s house, and everyday encounters with neighbours, Aslan’s car mechanic, a loquacious taxi driver, an exhausted old man, a besotted young newspaper seller, the author’s third grade English teacher, and a rural migrant to the city who’s written a real letter to God that Aslan surreptitiously filched from the undeliverable mail bin back when he worked at the postal service. None of these scenes are more than 2-3 short pages long, and the first five in the book are particularly revelatory of Aslan’s graceful melding of memory and meditation.

Of course, Imbaba serves as a sort of hidden motif. As is well known, the neighbourhood where Aslan was born and has lived all his life has featured centrally in his two novels, Malek al-Hazin (The Heron, 1983) and Asafir al-Nil (Nile Sparrows, 1999), and his short story collection Hikayat min Fadlallah Uthman (Stories from Fadlallah Uthman, 2003). But here, evocations of his beloved natal quarter have a special poignancy. As the author mentions, he has moved from Imbaba to a new domicile in Moqattam, an experience whose logistical and psychological dimensions are most beautifully explored in these etudes.

In small, precise gestures, this collection reveals much about Aslan’s life and art. We learn that one of his inspirations for becoming a writer was reading Anton Chekhov’s “The Death of a Government Clerk.” We learn that he wrote his first novel “out of pure coincidence.” That it troubles him that he can never remember his dreams. That reading every day is a reflex and compulsion of quasi-religious significance. That melancholy and humour commingle in his writing as they do in life. We learn the art of noticing, of living as fully sentient beings, in perpetual contemplation.

Many of those following our efforts have been clamoring for some information over the past week or so as to the progress of our various efforts. I apologize for the wait but am finally in the position to give a status update on said progress. We are proud to announce the immediate availability of "Alky for Applications" version 1.0. Those who followed Project VAIO before its merger with Falling Leaf Systems will remember it by that name. It has been re-branded and contains many bug fixes as well as improved support for the Windows Sidebar.

Our excitement over the announcement of "Alky for Applications" is tempered by the fact that we regretfully also announce that support for Halo 2 and Shadowrun will not come until the middle or end of August. The main reason for the short delay stems from the difficulty of implementing Windows Live support in a truly transparent manner. It has proven more difficult than we first envisioned, but we are making great strides. While many will be disappointed or even a bit angry, we hope that the prevention of having your Live account banned will be worth the wait.

Lastly, we have nothing definitive to report in regards to our support for DirectX 10 based games. As announced in the very beginning, this is a monumental effort and will take a great deal of time to implement properly. We hope to have a fully functioning demo in two months or so.

We appreciate your continued support and look forward to bringing you great products in the future.

Until next time,

Brian Thomason
CEO
Falling Leaf Systems, LLC

Orchestre Poly-Rythmo - Unreleased Distortion

August 29th, 2005
Its 9-am, I´m in front of the Studio Satel Buildings in Cotonou waiting for Wassi and Rafiou Adisa, sons of Seidou Adisa, founder of the Legendary Albarika Store music Label. I've just paid 120.000CFA, which is the fee for renting the studio for a whole day. I didn't really know what to expect but the guys told me not to worry...."you will be satisfied !!"

They finally arrived with an hour delay, each one carrying a huge bag (the ones that are used to transport rice) full of master tapes. We had few "Fizzy Pamplemouse" and then started transferring the reels onto DAT, with a backing on CD as well. We listened to about 100 to 120 Tracks on that day. Some songs were of no interest, so we quickly skipped those, others were amazing and were directly recorded - I ended up with about 20 songs, half of which will be released in the near future. Most of the tunes were by one of my favorite band, Orchestre Poly-Rythmo de Cotonou. One song in particular, Se Ba Do, composed by Amoussou William (a traditional singer) and performed by Poly-Rythmo, did get everyone in the Studio Grooving. That track is pure Sato, a traditional rhythm from Benin and probably one of the heaviest beats in Africa.

One 1/4 inch reel tape from 1973 contained 4 tracks that were completely distorted and were eventually re-recorded few month later in Lagos by Albarika and released on 45´s as ASB 97 & ASB 98 - AS stands for Albarika Store, the B (second) was added as there was already a label named African Songs (Lagos) which had the prefix AS.

I´ve had those Songs for a while now and didn´t really know what to do with them, too badly recorded to be released and too good to be forgotten, so I am glad my friends "forced" me to start this blog.

Enjoy unreleased material and...........the Distortion. (S)

1. AHOULI VOU YELLI LISTEN HERE
2. GNON A GNON WA LISTEN HERE