Sunday, October 25, 2009

on color

i have been working on a little pseudo-possible-documentary on the river in tripoli (which is becoming a non-river), so i thought that it would be nice to video-tape it an produce a piece for my hypothetical grandchildren...for at the rate of social catastrofuck, this slit of a river will be no more.
so, after a couple of rounds of shooting, getting lost in vessels of pedestrian conduct, little alleys of this and that - smells, i think - scentractions of mapmarks and insinuated direction, i noticed - that this city is no more. i grew up here, for a while - although i don't consider myself a local. i dont see myself suitable for this concept, ..''local'' - i spent more time in my head..on paper, or something else introverted .. relating myself to nothing but myself, for safe anchor - and this is why.

i see myself drifting to the collection of little things, to pickle things, because i can't push them forward. it is becoming a defense, while all i need to do is offend this streaming system of absurd irrelevance. i criticize, but i think i do nothing, a blurred goal, a blurred relevance, a blurred everything - for i set no base, no anchor, but myself - this self losing interest in its obsessions, fleeting obsessions, no control over. no more, at least.

Saturday, October 24, 2009

a video

System Failure from Leen Sadder on Vimeo.

Leen Sadder's final year animation project at the American University of Beirut (AUB). Using stop motion animation, collage and Adobe After Effects, she managed to create her own imaginary world inside her computer screen.

lationship, re

i am not going to try to define it (oum kolthoum said that el 7obb keda) and the rest, ok - i trust her/it.
but relationship-
s based on poetry, i think do not work - too bad, they make sense
other people - some people inter-people..
things do not make sense to me anymore, but it makes it interesting
i say
i think i lie
am lying, that is
will lie more, if it gets me where i want to be
although i lie, that i wont lie - i hope that i dont
but to get to you - i think. .

*of course this is an abstract excerpt and means nothing and is addressed to no one and is worth your shoe - discard plz*

Wednesday, October 21, 2009

dear basma,

i must insist, that whatever i may comment might come off as completely irrelevant - but this is not the point, it has never been - relevance, in itself, on its own - is completely irrelevant - it is, believe me - or don't, at least - acknowledge
now, to your status, i feel the need to translate - translation rips the essence of things - mutilates them, but makes them more and less understandable - and this ...i shall use

{damn a nation, overflowing with sects and lacking religion}

--damn a nation--

in general, damn a nation. damn the nation. damn our nation(s).
(s) - what is our nation to begin with
1.pan arabia, my orgasm lines of dead politicians...republics/kingdoms

when talking about 1.
if considering pan-A, it exists only in the head - and if it does, this whole thing become irrelevant - if it exists in the head, we are all fine - but i dont think it does, to most people - sometimes it is better to un-think of it, as a young thing, i used to draw my own playlines - around the borders of arabia, and just .. color the whole thing as one - and i think - in my lifetime, some atlases will be printed as such - and after i die, many will, but i'm not sure if it would still be arabia, damn it.
when talking about 2.
then this in itself is a damnation, why would countries sharing history, religion*, blood, babies, households, food have boundaries (ask dead polititians when reading al-fati7a on respective graves) -- (or not)..(or don't read al-fati7a).. anyways, since defining the boundaies lies at the core of introverted mentality, simply - damn the nation, the concept of such nation - damn sects that call themselves nations, damn religion* altogether

--overflowing with sects--

define sects? no. wikipedia is too interesting, too interesting, use it. based on the prior /damn the nation/ protocol, i must insist, that
1. nations are sects

let's talk about 2.
what is religion? we can all agree that utopia does not exist, platonia is too boring, yet still - irrealistic, so why bother. so the almighty decides to tickle us with a piece of information:
find utopia
i think it's a joke, depeche mode too.. i mean,
anyways, beside blashpemous rumors - -
to me, religion is the ultimate political dream, why? because god said so - angry? exactly.
so screw it, if you want to pray, pray at home - you want to masturbate with otello, at home too, you want to suck pencils, please do - at home. nations are not built on sentiment, they must build sentiment..but not on residues of the latter. hence, religion only exists on the fault between two sects - religion, in eqation is always less that sects - this would work better with a diagram, so look:

excuse the quality (phone pic)

so, this is hyperoptimism... religion::sect = 1::4
so again, damn a nation becomes a postulate according to
{damn a nation, overflowing with sects and lacking religion}

--and lacking religion--

alone, this is music to my ears, but in context, it makes no sense - because it is an utter statement of the conclusive obvious - yes, sects exist as majority to religion in any way or form - if not at moment of initiation, then at moment of perception.
and because this is a populative equation i.e

1 religion = 1+ sect = x...

let's lack religion, a sect antidote - to maybe undamn a "nation", let's not call ourselves ..nationals - with a "nation", until i find another more appropriate name for us (never), let's enjoy being nothing extra - nothing more than producers and consumers - more tangible, i wouldn't mind being called a consumerist, when i buy a farroukh album, collaborate on spatial development or buy a decent newspaper everyday...maybe drinking home-brewed coffee.. am i ending this another quote, basma?

ويل لأمة تلبس مما لا تنسج

im not into
ويلin general, so - i cannot agree with quotes, in general - anyways,
yes...i'll make myself some coffee,

much love

Tuesday, October 20, 2009


Celebrate the dark side of the 80's at Electro Mecanique with a great selection of tracks by Joy division, The cure, New Order, Cabaret Voltaire, Depeche mode, Siouxsie&the Banshees,sex pistols, the clash and many others
revisited by DJ MOUKA

event page on facefuck:

Saturday, October 17, 2009

have you seen a butterfly crawling?

i have.

i think it was looking for moth blasphemy, everyone is looking for moth blasphemy - or things for them to get caught - things never to come up - moth blasphemy - rumors of concubines and trinkets, probably naked incidents, behind frames with no doors, the shadows of footprints - behind imaginary outsides

it could have flied, if it needed to mate, but it crawled, for moth blasphemy - in places where no one knows it, him and her - it crawled, looks timid - it lurks to lead - for it thinks of its gradients to be more superior

have you seen a butterfly crawling?
when it touches your toes, it flutters of its reflection off your opaque floor..

,i have

Monday, October 12, 2009


بدي الك شي يا صاحبي - شو؟ - نحنا فاشلين - آه، بعرف - بعرف انك بتعرف - بس عن شو عم تحكي - كل ما نلائي شي ماشي، منعطي لا حداً تاني - هم

an impromptu conversation in a grocery store while buying overnight munchies, i think we were talking about almaza not being lebanese anymore, solidere selling land to gulficles, and our respective sexual frustration(s) - none stated..but i think so

5,500 iza bitreed

beirut souks

first things first

second things whenever..

what developers don't get, i think - is that city centers are not developed in incubators of intellectual restriction - on the contrary, they grow into centers, to inflate and resurrect simultaneously.

the concept of {let's rebuild the old souks} just doesn't get processed in my little head. i am not interested to be categorized within the cult of anti-solidere, on the contrary...especially that now - i live on its periphery, "downtown beirut" is one of the most intriguing pseudo-urban slices you can find. i like the place, now that i stopped reading what people thought of it and who cried because of it. life is cruel, architects are monsters and investors are imposters to our lives, ok - but this is the only way that it could have happened - fullstop, shall we?

we as people living in beirut have learned to - ok, pause rewind, pause fastforward, zoom in - zoom out, chill - denial denial, melancholize...etcetera and so on, except here. the downtown that was molested by its own people was claimed private land by other people, who designed their fairytale --- -- its wierd, its fucked up - but it's beirut. recall forbidden cities, a.k.a southern suburbs of the beirut / recall the silk road, a.k.a hariri qoraitem residence / recall spears traffic, a.k.a barbar..but we all still go eat there and park like fuckiots / recall{{ I <3> }} a.ka. we wanna get drunk even if these rent-paying-aboriginals can't sleep to get up to go to work bukra..and yes we do like it.

people, get over yourselves, but i have a fundamental issue with solidere still, issues, not one actually - but majorly, the abuse of potential. take the souks for example - i do not understand what the input was to start out with, thus to me the architecture is invalid.

was it built on crumbs of ''collective memory'' ? if so, than mr.moneo must have been out of the game, giving the job to a lebanese architect with minimum requirements of..teta having a glass of fresh juice at the old souk .. at least then, he would have part of these memories in his make-up that this project would start to make quasi-sense.

was it build on traces of the old souk? if so - then how? aesthetic traces ... but then, it mimics an image - not a typology. .. it resembles a possible ambiance but tagtails it - dangerous, i think, because it tagtails something extinct. progressive architecture is an element in the production of any city center, ms/mr solidere... what is happening now? i am not against learning from the idea of the souq - but the souq is not about the flip-flop curves and possible archades, it looked as such because that was their once-contemporary building technique...let me make me some coffee as you tell me about the contemporari-ness of this bulk of a mall, we call a souk..4,3,2,1..

i was born in tripoli, i lost myself in tripoli, and yes - there, the souk still exists - i know what a souk is, not as an archi-fart, but as a person, that used it for a while - and this beirut reminisce does not remind me of a souk - i cannot use it as one, it is too blank, too bleh - too diagonally tiled that it angers me even..potential..potential...lost potential.

the entabli fountain, yay!! ok - now what? casper and gambini's next to it? donc, the casper fountain..maybe in a couple of years -
how can i stumble upon this souq without using the intended circulation? how can i hide there..make-out there..get lost there - maybe play hide and seek..maybe seek sounds i need,
D&G? you can not be serious.

i feel like a preacher now, and i will not continue, before someone pacifies me with the i will stop, my only hope being the big plant pots to sit on - without the king's guards of the holy souk come to tell me to ..shooo..shooo peasant

Sunday, October 11, 2009

hello stars...

The idea of investing some extra cash to improve the look, feel, and atmosphere of your place will be very appealing.

There is good news, too, as Jupiter turns direct in your travel and adventure zone. This zone is also associated with higher education and publishing. If you've written a book lately or have been busy contacting publishers with your ideas, you should hear some good news soon enough.

A New Moon in Libra on Saturday gives you a great opportunity to begin a new relationship. This time it should blossom into something beautiful.

Thursday, October 8, 2009

are you fucking serious?

Ilene Barnes

YouTube - medley TIME / DEEP

{Beirut Jazz Festival 2009}

thx jo

“A failure is not always a mistake, it may simply be the best one can do under the circumstances. The real mistake is to stop trying.”
~B.F. Skinner

Copyright© 2009 The.Goodbye.Girl. All rights reserved.

All images, text, and content on this site are the sole property of The.Goodbye.Girl and may not be used, copied or transmitted by any means, electronic or otherwise, without the written consent of the author.

Thank you.

Tuesday, October 6, 2009

have u ever felt like talking, but duno what about, and maybe you do but you dont feel like it - or going thru the hassle of censoring etc etc that you dont know what you wanna talk about and then you notice that you dont know what you want, but in the back of your head you are guilty of wasting your own time, possibly overthinking and telling yourself not to overthink, but you do it again and you forget what the fuck is ... aslan, who the fuck is taylor swift?

beirut jazz fest

WED. 07/10


Nicolas GIRAUD (Trumpet)
Toufic FARROUKH (Compostion / Saxophones)
Daniel ZIMMERMANN (Trombone)
Didier HAVET (Tuba)
Leandro ACONCHA (Piano)
Emmanuel HUMEAU (Ingé son)

Saxophone player and composer Toufic Farroukh has chosen jazz as his favourite idiom - a jazz bearing the colours of the Orient, reflecting his career as an artist with his roots in two cultures, and one who is open to all the different forms of artistic expression in contemporary society. Toufic began playing the saxophone at an early age; he studied music at the Ecole Normale Supérieure in Paris, and today he collaborates regularly as a composer with the department of modern dance at the Paris Conservatory (CNR).

Although resident in Paris, Toufic keeps a watchful eye on Lebanon’s cultural scene. He composed music for films and documentaries about his homeland, and appeared as a guest saxophonist on several albums by well-known local artists. His own musical output fully integrates the various influences at work in his life, creating in the process a unique and utterly authentic sound-world.


Walid Itayim (Guitar / Vocals)
Alain Ajouri (Guitar)
Munir Khauli (Bass Guitar)
Mazen Siblini (Keyboards)
Emile Bustany (Drums)
Jad Abi Haidar (Lead Vocals)

THU. 08/10


Walid Tawil (Drums)
Raffy Mandalian (Guitar)
Carlos Abou Chabke (Bass)
Tom Hornig (Saxophone)


Mark Fisher (Keyboards)
Mark Reilly (Lead Vocals)
Karl Van Den Bossche (Percussion)
Nick Cohen (Bass)
Tony Remy (Guitar)
Simon Finch (Trumpet & Flugel)
Andrew Robertson (Drums)
Andrew Ross (Sax & Flute)
Weston Foster (Background Vocals)
Hazel Sim (Background Vocals)
Alan Branch (Sound Engineer)

Formed by members of modern jazz ensemble Blue Rondo a la Turk in 1982, Matt Bianco evolved into one of England's top jazz-pop bands. “Get Out of Your Lazy Bed” and “Half a Minute” were massive hits in 1984, while Matt Bianco’s rendition of Georgie Fame's “Yeh Yeh” received a European music award as Best Single of 1985.

FRI 09/10


Hani Alayli (Band Leader / Guitar)
Elie Farah (Vocals / Harp / Guitar)
Abdo Sadek (Vocals / Keyboards)
Issa Ghorayeb (Saxophone)
Julio Eid (Bass)
Fouad Afra (Drums)


Ilene Barnes (Bass Guitar / Vocals)
Alvaro Bodenhofer (Guitar)
Jean Baptiste Ferre (Piano / keyboards)
Javier Estrella (Drums / Percussion)

Ilene Barnes was born in Detroit, USA, and spent her childhood in Surinam, Barbados and Jamaica. She began playing the guitar in Barbados before moving to Europe in the 1990s.

Ilene started touring in 2000 in support of her first album, Set You Free. Her 2nd album, Time, was released three years later, and highlights her intensely personal style, amidst reminiscences of Nina Simone, Joan Armatrading and Tracy Chapman.

Following the unprecedented success of Time, Ilene started touring extensively and became a regular fixture in major European festivals. She performed in more than 15 festivals in France alone, playing a total of 400 dates between 2003 and 2008.

SAT 10/10


Arthur Satyan (Keyboards)
Raffi Mandalian (Guitar / Percussion)
Abboud Saadi (Bass Guitar)
Fouad Afra (Drums)

Arthur Satyan was born in Yerevan, Armenia in a family of leading Armenian composers. His father introduced him to jazz and piano at the age of four. Upon winning first prize in the Composition Competition between local music schools, Arthur decided to turn pro, and joined the Komitas Armenian National Higher Conservatory of Music at the age of 20. He graduated in 1998, and over the next few years developed into Yerevan’s top piano man, working with several combos and big bands.

In 1996, Arthur was invited to Beirut for the opening of the biggest casino in the Middle East, Casino Du Liban. In 1998, he was appointed to the faculty of the Lebanese National Higher Conservatory of Music in Beirut, where he currently holds the title of Professor of Classical Piano and Dean of the Jazz Department.

Arthur has been performing and touring with his own Arthur Satyan Trio since 2002.


Karen Ananyan (Keyboards)
Manuk Ghazaryan (Keyboards)
Levon Puchinyan (Trumpet)
Artur Grigoryan (Saxophone)
Hasmik Martirosyan (Saxophone)
Alina Hakobyan (Flute)
Vahram Davtyan (Trombone)
Gagik Malkhasyan (Duduk)
Hakob Ordakyan (Drums)
Hayk Shakhkyan (Dhol)
Narine Nikoghosyan (Violin)
Nune Vardanyan (Violin)
Hamlet Shaghoyan (Guitar)
Artur Nazaryan (Bass Guitar)

The KOHARAPAYL Ensemble began as KOHAR Trio eleven years ago, and is currently comprised of 13 artists whose musical performances and talent are distinguished in their respective genres.

KOHARAPAYL's young musicians have endeavored to showcase Armenia’s national and folk music, meticulously adhering to its roots, and infusing it with modern arrangements. The band’s latest CD, Avant-Jazz, integrates jazz rhythms in the mix, and provides a new vigor to Armenian popular songs.

SUN. 11/10


Randa Ghossoub (Vocals)
Tarek Yamani (Piano)
Miles Jay (Double Bass)
Samer Zaghir (Drums)
Jeremy Chapman (Saxophone)

Lebanese singer Randa immersed herself in the Jazz genre from an early age. Born in Lebanon, she is today the result of a genuinely multicultural background, having spent time in Africa, France, the United Kingdom and residing lately in Montreal, Canada.

Randa’s proper career as a singer started when she travelled to Miami in 2002, and recorded her first album, Pillow Talk. The album’s success sent her touring in various locations across the planet. Her singing itinerary is paved with remarkable meetings, including such great musicians as Ziad Rahbani, Jesse Jones Jr., Charlie Biddle, Arturo Sandoval, Ingram Washington, Chuck Mangione, Zeb Billings, Jimmy Dale, Jack Gregg, Steve Philips, and Cuban band Asere.


Freddy Cole (Piano / Vocals)
Curtis Boyd (Drums)
Randell Napoleon (Guitar)
Elias Bailey (Bass)

Freddy Cole's illustrious career has seen him move into the front ranks of America's homegrown art form, with a style and musical sophistication all his own.

Born in 1931, Lionel Frederick Cole is the youngest brother of famous vocalist Nat ‘King’ Cole. He started playing piano at the age of five, and was already playing and singing in Chicago clubs as a teenager.

Moving to New York in 1951, he studied at the Juilliard School of Music; obtained a Master's degree at the New England Conservatory of Music, and spent several months on the road as a member of a band that also included Johnny Coles and Benny Golson. Freddy’s first single, “The Joke's on me”, was released in 1952 on a Chicago-based label.

Cole currently leads a trio that includes guitarist Randy Napoleon, drummer Curtis Boyd and bassist Elias Bailey; it regularly tours the US, Europe, the Far East and South America.



Monday, October 5, 2009

Saturday, October 3, 2009


خس + بطاطا + رمان + دبس رمان + خل أبيض + بهار أسود + ملح + زيت زيتون

Friday, October 2, 2009



ولكن إلى أين ؟؟ سأذهب ولكن إلى أين - أوضحت الأمر - أصبح واضحاً، جلياً - سأذهب - فإني ذاهب ... أنظر- إلى ظهري - ظهري وهو يتوارى .. يتوارى إلى ...أين - سأنصب أيناً في هذا العدم - لأنك لن تقول لي إلى أين - ولم تقل لم. لم أسأل - لن أسأل - فربما وأنا ذاهب - ربما تركض ورائي - ربما - ولكن إلى أين؟ لن أرجع - أريد الرجوع، لكني لن أرجع ...مع إن لن أصل إلى أين - سأذهب عارفٌ إن أينما جثيت، لن يكون أين جثونا - عارفٌ إن أينما طربت، لن تكون موسيقاي، أينما بقيت، لن تكون كتفي - لن أرجع عندما تنادي - مع إن أريد الرجوع - إلى أينك - فهناك ..صنعنا أيني

لأطارد عطارد